• Filmvorführung: Show & Tell - Modern Lovers by Dorothy Iannone & Juliette Blightman, 14.2.2021
    Juliette Blightman, Diseaseeds and Pollutionation, 2020, Film Still, Courtesy: the artist and Arcadia Missa
    Sun Feb 14, 2021, 7 pm – 8.30 pm

    Modern Lovers 
    A screening on Valentine’s Day in the context of the exhibition THE KÖLN CONCERT
    by Dorothy Iannone & Juliette Blightman with video works of both artists


    Juliette Blightman
    Girlfriend, 2009

    Dorothy Iannone
    The Story of Bern (Or) Showing Colors, 1970

    Dorothy Iannone
    Follow Me, 1977

    Dorothy Iannone
    The Berlin Beauties Or You Have No Idea How Beautiful You Are, 1978

    Juliette Blightman
    I Will Always Love You, 2019

    Juliette Blightman
    Diseaseeds and Pollutionation, 2020

    Total running time: 80 min

    The screening takes place via the internet platform Zoom. With the following link you can join the meeting via your browser:

    For access via a zoom account:
    Meeting-ID: 973 5873 3748

  • Artist Talk, Lecture, Performance, Performance, Performance: Hounds of Love – Juliette Blightman & Lily McMenamy, 10.12.2020
    Juliette Blightman: Diseaseeds and Pollutionation, 2020. Video still. Courtesy: the artist and Arcadia Missa, London.
    Thu Dec 10, 2020, 7 pm – 7.45 pm

    Hounds of Love 
    An evening zoom of music, performance and readings, with friends and heroes of Juliette Blightman and Lily McMenamy. The artists come together for the first time, both drawing inspiration from the world around them; as women, as friends and as cosmic dancers.

    Tune in from 7 pm Köln time.

    The conversation takes place via the internet platform Zoom. With the following link you can join the meeting via your browser:

    For access via a zoom account:
    Meeting-ID: 915 7422 2270

    The event is part of the exhibition  THE KÖLN CONCERT  by Dorothy Iannone & Juliette Blightman and can be viewed here afterwards: 

  • Event: All events are cancelled until further notice, 3.11.2020 – 31.1.2021
    Kölnischer Kunstverein, Riphahnsaal. Foto: Simon Vogel.
    Tue Nov 3, 2020 – Sun Jan 31, 2021
      In accordance with the Corona Protection Regulation of the State of North Rhine-Westphalia, the Kölnischer Kunstverein will be closed from 03.11.2020 until at least 31.01.2021. During this time, no events will take place on site. Online events will be announced via our newsletter at short notice.  
  • Guest Event, Guest Event: Kammerkonzerte im Kunstverein – 4. Concert, Aleksey Semenenko (violin) & Inna Firsova (piano), 31.10.2020
    Kammerkonzerte im Kunstverein, 2020. Ankündigung. Copyright: Kölner Klassik Ensemble e.V.
    Sat Oct 31, 2020, 6 pm – 8 pm
    Aleksey Semenenko, the star violinist, will be performing together with the pianist Inna Firsova. Program: Ludwig van Beethoven: Sonata No. 6 in A major, op. 30 No. 1 Igor Stravinsky: Divertimento “Le Baiser de la fée – The kiss of the fairy Olivier Messiaen: Thème et Variations for violin and piano (1932) Gabriel Fauré: “Au bord de l’eau” op. 8; “Aprês un rêve” op. 7 Eugène Ysaÿe: Poème élégiaque, op. 12 Alexander Rosenblatt: Carmen Fantasy on themes from the opera by Georges Bizet After his Kennedy Center debut, the Washington Post wrote: “Semenenko (…) explored every corner of the composer’s imagination (…) a true triumph”. Since winning the prestigious Young Concert Artists Auditions in New York in 2012 and the Boris Goldstein Violin Competition in 2015, Aleksey Semenenko has become one of the world’s violinists’ elite and has performed extensively as a soloist and chamber musician in Europe and the USA. Aleksey Semenenko plays a Stradivarius violin from 1699, which was donated to him by the German Foundation Musikleben. Aleksey Semenenko forms a permanent duo with the pianist Inna Firsova. They have given concerts in the Berlin Philharmonic Hall, at Schloss Elmau, at the Mecklenburg-Vorpommern Festival, among others. At the 67th Dubrovnik Summer Festival 2016 they won the Jury and Television Prize Orlando as “Best Concert” of the festival. Fees: 19,50 Euro incl. advance booking fee, reduced (pupils, students, KölnPass holders) 12,- Euro incl. advance booking fee Children up to 14 years have free admission. Ticket sales exclusively in advance via KölnTicket! Tickets are available at KölnTicket: Information & link to the VVK under: About the concert series: The music metropolis on the Rhine is home to numerous internationally renowned musicians. With its diversity and quality, Cologne’s independent chamber music scene has earned itself the highest reputation worldwide. The chamber concerts at the Kunstverein now give these top ensembles from Cologne and NRW a permanent showcase in their home city. Starting in 2020, six concerts will take place annually, on Saturdays at 6 pm, in the Riphahnsaal of the Kölnischer Kunstverein. Centrally located on Neumarkt, the Riphahnsaal with its open, beautiful architecture offers excellent acoustics for chamber music of the international top class. The combination of contemporary, visual arts and chamber music spanning all epochs is a symbol for the unity of art, its diversity and topicality and promises a unique ambience. This concert series is supported by: Kulturamt der Stadt Köln, Ministerium für Kultur und Wissenschaft NRW and RheinEnergie Stiftung Kultur.
  • Vermittlung, Guided Tour, Guided Tour, Guided Tour, Guided Tour: Dunja Herzog – Meanwhile & ­Emma LaMorte – Aussicht, 18.10.2020
    Sun Oct 18, 2020, 3 pm – 4 pm
    Guided Tour through the exhibitions Dunja Herzog – Meanwhile and Emma LaMorte – Aussicht  with Miriam Bettin, Curator of the exhibition by Emma LaMorte
  • Lecture: Show & Tell – Tarot Conversation: The Tower by Jessa Crispin, 14.10.2020
    Jen May & Jessa Crispin, The Tower, Spolia Deck, 2018, Courtesy of the artists
    Wed Oct 14, 2020, 7 pm – 8 pm

    Instagram Live: Tarot Conversation: The Tower by Jessa Crispin, independent writer and editor (USA) 
    Online Event, no registration required, access via our Instagram-Account

    A tower, hit by lightning or perhaps simply on fire, is nearing collapse. In many versions of the card, two figures fall from the top of the tower to the ground below. Rather than the self-destruction of the Devil, the Tower is destruction that comes from the outside. It is a shaking, a tumult, a calamity. What you have built up, the Tower takes down. It is perhaps the most dreaded card in the deck. It falls at number sixteen.” – Jessa Crispin, “The Tower”, in: The Creative Tarot: A Modern Guide to an Inspired Life, New York 2016.

    Feminist and astrology-affin writer and publisher Jessa Crispin takes us on a journey to the secrets and opportunities of tarot. In the context of Emma LaMorte‘s exhibition Aussicht, she talks about the destructive but also recovering qualities of the tarot card “The Tower”.

    Jessa Crispin is an independent writer and editor based in Baltimore, MD. From 2003 to 2016 she was responsible for Bookslut, a monthly magazine and blog and has been hosting the podcast Public Intellectual since 2017. She frequently writes for The New York Times and The Washington Post covering politics, art, literature, film, pop culture, food, feminism, religion, and housing and is a columnist for The Guardian since 2019. Most recently she has published Why I am Not a Feminist: A Feminist Manifesto (2017), The Creative Tarot (2016) and The Dead Ladies Project (2015) and is currently working on her book-in-progress My Three Dads (planned for 2021). In collaboration with the artist Jen May she printed and distributed the Spolia Tarot Deck in 2018 and is giving tarot readings, lectures, and workshops on a regular basis.

    Show & Tell is an ongoing series of events in various formats, accompanying the exhibition or independent of it. Changing guests are invited, including artists, authors and musicians. The series is supported by:

  • Filmvorführung: Show & Tell – Stan Brakhage, Anticipation of the Night, 1958, 13.10.2020
    Stan Brakhage: Anticipation of the Night, 1958. Film still. Courtesy of LUX, London.
    Tue Oct 13, 2020, 7 pm – 8 pm

    Stan Brakhage: Anticipation of the Night, USA, 1958, 43 min, colour, mute, 16 mm
    With an accompanying text by Emma LaMorte.

    “The daylight shadows of a man in its movement evokes lights in the night. A rose bowl held in hand reflects both the sun and moon like illumination. The opening of a doorway onto trees anticipates the twilight into the night. A child is born on the lawn, born of water with its promissory rainbow, and the wild rose. It becomes the moon and the source of all light. Lights of the night become young children playing a circular game. The moon moves over a pillared temple to which all lights return. There is seen the sleep of innocents in their animal dreams becoming the amusement, their circular game, becoming the morning. The trees change colour and lose their leaves for the morn, they become the complexity of branches in which the shadow man hangs himself.” – Stan Brakhage

    Show & Tell is an ongoing series of events in various formats, accompanying the exhibition or independent of it. Changing guests are invited, including artists, authors and musicians. The series is supported by:

  • Event: Kammerkonzerte im Kunstverein – 3. Concert, Linos Piano Trio, 10.10.2020
    Sat Oct 10, 2020, 6 pm – 9 pm
    Konrad Elias-Trostmann, violin Prach Boondiskulchok, piano Vladimir Waltham, cello Program: Kaija Saariaho: Light & Matter Edvard Grieg: Peer Gynt Suite No. 1 (Arr. Linos Piano Trio) Carl Philipp Emanuel Bach: Trio in F Major Wq. 01 No. 3 Johannes Brahms: Trio in C minor Op. 101 In 2015 Linos Piano Trio won the 1st prize as well as the audience award at the Melbourne International Chamber Music Competition and is since then considered one of the most dynamic and creative piano trios in Europe. “Slow-burning and gripping” commented The Strad Magazine and the Hannoversche Allgemeine Zeitung wrote: “the trio fascinated right away”. The Linos Piano Trio performs worldwide in concert halls such as Wigmore Hall London, Melbourne Recital Centre, Holzhausenschlösschen Frankfurt and Muziekgebouw Eindhoven. CAvi-music released the first recording of the complete works for piano trio by Carl Philipp Emanuel Bach in early 2020. Since 2016, the project “Stolen Music”, which is very popular with listeners, has also been produced. Here the musicians arrange great orchestral works for their instrumentation in order to expand the repertoire for piano trio. Fees: 19,50 Euro incl. advance booking fee, reduced (pupils, students, KölnPass holders) 12,- Euro incl. advance booking fee Children up to 14 years have free admission. Ticket sales exclusively in advance via KölnTicket! Tickets are available at KölnTicket: Information & link to the VVK under: About the concert series: The music metropolis on the Rhine is home to numerous internationally renowned musicians. With its diversity and quality, Cologne’s independent chamber music scene has earned itself the highest reputation worldwide. The chamber concerts at the Kunstverein now give these top ensembles from Cologne and NRW a permanent showcase in their home city. Starting in 2020, six concerts will take place annually, on Saturdays at 6 pm, in the Riphahnsaal of the Kölnischer Kunstverein. Centrally located on Neumarkt, the Riphahnsaal with its open, beautiful architecture offers excellent acoustics for chamber music of the international top class. The combination of contemporary, visual arts and chamber music spanning all epochs is a symbol for the unity of art, its diversity and topicality and promises a unique ambience.
    Chamber concerts at the Kunstverein, 2020. Announcement. Copyright: Kölner Klassik Ensemble e.V.
  • Event: Show & Tell – Broadcast: Something Like #21: The Continuous Present, with Bitsy Knox, Rosa Aiello, and Emma LaMorte, 8.10.2020
    Benjamin Marvin, Untitled, 2020, Courtesy: the artist
    Thu Oct 8, 2020, 10 am – 1 pm

    Broadcast: Something Like #21: The Continuous Present, with Bitsy Knox, Rosa Aiello, and Emma LaMorte, in-situ at the Kölnischer Kunstverein
    Online Event, no registration required

    ≈≈ The show will air live on Cashmere Radio on October 8, 10 am – 1 pm. It will then be available on Something Like’s Cashmere page and on Mixcloud ≈≈

    “. . . It’s at this moment that I decide to make a change, set up some rules, do something, because when the life of the living moves slow, it speeds the overall sense of time. It gives the impression that life goes by “In a flash,” “In a breath,”  “Before you know it.” I decide: First, I will forbid the use of any such phrase, including, “Where has the day gone?” including “Already?”. Second, I will do all I can to avoid tradition, which speeds time. Like ritual speeds time. Like routine, which I cannot possibly avoid, speeds time. Third, and most important, because it is something I can control, I will adopt an exercise for slowing time: to place details in time, so to prevent the seamless fold from taking hold. . .”  (an excerpt from Calypso Goes out of Favour by Rosa Aiello)

    In this very special 21st episode of Something Like, Bitsy speaks with artists Emma LaMorte and Rosa Aiello about Emma’s exhibition, Aussicht, in-situ at the Kölnischer Kunstverein, late into the night. As they go on an ekphrastic exploration through Emma’s exhibition, they ask: what is the continuous present, and how do we move through it? What does the passage of time feel like for an artist—for a new mother—and how does this relate to care, to duty, to patience, to pleasure, to injustice?

    Taking a page from Aussicht, this is an episode in four parts, and features an original score by LNS (Laura Sparrow), as well as excerpts from Rosa Aiello’s text for the exhibition, Calypso Goes out of Favour, an excerpt from her novel-in-progress, Calypso’s Way.

    Bitsy Knox (*1984 in Vancouver) is a poet, performer, and radio host based in Berlin. Bitsy has read poetry and performed across Europe, most recently at Haus am Lutzowplatz, Hopscotch, Horse & Pony, KW Institute for Contemporary Art, OHM, and Project Space Festival, Berlin; W139, Amsterdam; Une, Une, Une, Marseille; Feeelings, Brussels; and PEACH, Rotterdam. Her bi-monthly radio show on Cashmere Radio and CHFR Hornby Island, Something Like, traverses folk traditions and new age, experimental, and minimal composition through lenses of poetry and amateur musicology. Bitsy has collaborated with Brussels-based musician Roger 3000 since 2016. Their first LP as Bitsy Knox & Roger 3000, OM COLD BLOOD was released by Tanuki Records in 2018, and a forthcoming EP, The Heat Within, will be released by Tundra Records in Autumn 2020. Bitsy’s poems have been published by Tabloid, General Fine Arts, Arts of the Working Class, and Pure Fiction, among others. Her first chapbook, Meaningless Secrets, was published in 2020. She holds a MFA from Piet Zwart Institute, Rotterdam.

    Show & Tell is an ongoing series of events in various formats, accompanying the exhibition or independent of it. Changing guests are invited, including artists, authors and musicians. The series is supported by:


  • Vermittlung: Dunja Herzog – Meanwhile & ­Emma LaMorte – Aussicht, 7.10.2020
    Wed Oct 7, 2020, 5 pm – 6 pm
    Guided Tour through the exhibitions Dunja Herzog – Meanwhile and Emma LaMorte – Aussicht  with Miriam Bettin, Curator of the exhibition by Emma LaMorte.
  • Event: Show & Tell – Guided City Tour through Cologne, 4.10.2020
    Seidenspulerin, Seekreis Verlag, 14. Jahrhundert.
    Sun Oct 4, 2020, 12 pm – 2 pm
    Guided Tour through Cologne: Blaufärber*innen, Goldspinnerinnen, Zauberei. A guided tour by and with Irene Franken, historian and Alternative Honorary Citizen of Cologne. Accompanying the exhibition Meanwhile by Dunja Herzog, Cologne locations will be visited that touch on aspects of colour, craftsmanship, magic and gold. The theme will then be Dunja Herzog’s initiator, Prof. Maria Mies, who left many metres of her writings to the Women’s History Society – comparably productive as councilman Hermann von Weinsberg, who in early modern times wrote about 7,000 pages of diary and lived on the Blaubach. Finally, the fight for the self-determination of women over their bodies will also be dealt with. Start: Waidmarkt, Hermann-Josef-Fountain Duration: approx. 1 1/2 to 2 hours Max. 15 participants, mouth and nose protection or visor are a condition of participation (in German) The registration deadline is 02.10.2020 at 2:30 pm.
  • Event: Show & Tell – Live Narration by Rosa Aiello, Emma LaMorte & Benjamin Marvin with music by LNS, 2.10.2020
    Emma LaMorte & Benjamin Marvin, Live Narration, 2020, Courtesy of the artists
    Fri Oct 2, 2020, 6 pm – 7 pm

    Live Narration by Rosa Aiello, Emma LaMorte & Benjamin Marvin with music by LNS
    With a book presentation of the publication accompanying the exhibition

    Live Narration is a collaborative project with text by Rosa Aiello, visuals by Emma LaMorte and Benjamin Marvin and music by LNS. Using an overhead projector, images from light, shadow, and colour are created and projected on site, illustrating and commenting on the live mixed soundscape of music and language. The performance at the Kölnischer Kunstverein includes work details from Emma LaMorte’s exhibition Aussicht and a reading by Rosa Aiello from her text Calypso Goes out of Favour that is also part of the accompanying publication.


    Rosa Aiello, born 1987 in Canada, is a writer and artist working with video, text, photography, sound, and installation. She often deals with the way language, narrative devices, domestic architecture, and other structural parameters are involved in socialisation. Her works have been shown at various institutions and galleries, most recently, Cell Project Space in London, Lodos Gallery in Mexico City, The Southern Alberta Art Gallery in Lethbdrige, Bureau des Réalités in Brussels, Schirn Kunsthalle in Frankfurt am Main, and Kunsthalle Zürich in Zurich. Her writing has been published in Triple Canopy, Starship, CanadianArt, Art Papers, and F. R. David. Calypso Goes out of Favour is excerpted from her long-form fiction project Calypso’s Way, currently in progress.

    LNS, originally from Calgary, CA, has since years been an integral part of buillding Vancouver’s underground music community, creating and DJing on point and under the radar events. Her DJing reflects a myriad of electronic influences, including the pioneering years of Detroit and UK Techno, IDM, and Electro. This style is mirrored in her musical production which has been featured on labels such as 1080p, Freakout Cult, Wania, and her own label LNS, of which there are two EP’s currently released.

    Benjamin Marvin, born 1987 in Canada, is an artist living in Berlin. He received his BFA from Emily Carr University in Vancouver and studied in the class of Christopher Williams at the Kunstakademie Düsseldorf. Recent exhibitions include Exhibiting Paintings at Jack’s Flat Berlin, Development (Scarlet goes to the doctor) at Gärtnergasse in Vienna (together with Emma LaMorte), Close Your Eyes It’s all pretend at Sikås Art Center and How am I at Junge Museum in Bottrop.

    *Please note that the time of the event has changed to 6 pm.

    Show & Tell is an ongoing series of events in various formats, accompanying the exhibition or independent of it. Changing guests are invited, including artists, authors and musicians. The series is supported by:


  • Special Event: Open Studios at the Kölnischer Kunstverein, 27.9.2020
    Open Studios Cologne 2020.
    Sun Sep 27, 2020, 2 pm – 6 pm
    With the studio fellows Sascha Kregel, Morgaine Schäfer, Stella von Rohden and Ellen Yeon Kim. No registration is required for this event, but there may be waiting times. Please respect the rules of distance and hygiene and the obligation to wear a mouth and nose mask. Further information under: Offene Ateliers Köln 2020
  • Event: Show & Tell – Guided City Tour through Cologne, 23.9.2020
    Seidenspulerin, Seekreis Verlag, 14. Jahrhundert.
    Wed Sep 23, 2020, 6 pm – 8 pm
    Guided Tour through Cologne: Blaufärber*innen, Goldspinnerinnen, Zauberei. A guided tour by and with Irene Franken, historian and Alternative Honorary Citizen of Cologne. Accompanying the exhibition Meanwhile by Dunja Herzog, Cologne locations will be visited that touch on aspects of colour, craftsmanship, magic and gold. The theme will then be Dunja Herzog’s initiator, Prof. Maria Mies, who left many metres of her writings to the Women’s History Society – comparably productive as councilman Hermann von Weinsberg, who in early modern times wrote about 7,000 pages of diary and lived on the Blaubach. Finally, the fight for the self-determination of women over their bodies will also be dealt with. Start: Waidmarkt, Hermann-Josef-Fountain Duration: approx. 1 1/2 to 2 hours Max. 15 participants, mouth and nose protection or visor are a condition of participation (in German) The registration deadline is 23.09.2020 at 3:30 pm.
  • Artist Talk: Artist Talk: Dunja Herzog, Fatima Khan, Cate Lartey & Maryline Ogboko, 19.9.2020
    Copyright: Fatima Khan.

    Sat, Sep 19, 2020, 7 pm – 9 pm
    Show & Tell Closely interwoven: fabrics and cloths in capitalism, colonialism.
    Discussion based on the artistic works by Dunja Herzog, Fatima Khan, Cate Lartey & Maryline Ogboko (in German).

    Fabrics and cloths, the former luxury goods, have become commonplace. Nevertheless, as a craft practice they are still closely interwoven with social ideas. Fabrics are one of the few handicraft materials whose use by women is tolerated and even supported by society. However, the conditions of production and history of textiles are largely ignored. In a conversation about the theory, practice, and stories of various fabrics, the artists Dunja Herzog, Fatima Khan, Cate Lartey, and Maryline Ogboko make the connection between fabrics, capitalism, and colonialism.

    Fatima Khan, born in Bhola in 1987, grew up in Cologne, is an artist, curator and presenter. She studied ancient languages and cultures – classical literature and German studies at the University of Cologne. She was the initiator and co-founder of q[lit]*clgn, the first feminist literature festival in Germany. Her artistic works capture banal everyday situations in a visual diary in which photos and videos merge to form documentary and art films. She produces and publishes through Instagram under @fatum.khan.

    Cate Lartey is a design researcher from Düsseldorf. In her work she deals with notions of power relations and intersectional entanglements from a postcolonial feminist perspective. She explores these issues through film and photography.

    Maryline Ogboko is a dancer from Düsseldorf and studies Textile and Clothing Management at the HS Niederrhein in Mönchengladbach. As part of her studies, she wrote a student research project that examines the Nigerian fashion industry from a traditional and contemporary perspective. Since 2019 she is one of the co-founders of the start-up initiative Ohemaa Green Housing, a concept that will build Tiny Houses in Ghana from recycled plastic.

    The event is part of the exhibition Dunja Herzog MEANWHILE at Kölnischer Kunstverein.The series Show & Tell is supported by:

  • Filmvorführung: Show & Tell – I Am Not a Witch, 2017, 18.9.2020
    I Am Not
    Fri Sep 18, 2020, 7 pm – 9 pm

    Film screening: I Am Not a Witch, 2017, Director: Rungano Nyoni, 94 min, OmU
    In the presence of the artist Dunja Herzog

    In her feature debut film I Am Not a Witch, Rungano Nyoni deals with modern percecution of witches in Zambia. The nine-year-old orphan Shula is accused of being a witch by a villager and sent to a witch camp in the desert. Under strict rules she lives there and has to undergo a ritual to internalize the rules of the witch’s life. I Am Not a Witch is both social satire, feminist criticism and surrealistic portrait of rural Zambia.

    Show & Tell is an ongoing series of events in various formats, accompanying the exhibition or independent of it. Changing guests are invited, including artists, authors and musicians. The series is supported by:

  • Education, Guided Tour: Dunja Herzog – Meanwhile & ­Emma LaMorte – Aussicht, 16.9.2020
    Wed Sep 16, 2020, 5 pm – 6 pm
    Guided Tour through the exhibitions Dunja Herzog – Meanwhile and Emma LaMorte – Aussicht with our Director Nikola Dietrich.
  • Education, Guided Tour: Dunja Herzog – Meanwhile & ­Emma LaMorte – Aussicht, 16.9.2020
    Wed Sep 16, 2020, 5 pm – 6 pm
    Führung durch die Ausstellungen Dunja Herzog – Meanwhile und Emma LaMorte – Aussicht  mit unserer Direktorin Nikola Dietrich.
  • Opening: Dunja Herzog – Meanwhile & ­Emma LaMorte – Aussicht, 4.9.2020
    Fri Sep 4, 2020
    Dear visitors and members, We are very pleased to welcome you to the opening of our two solo exhibitions Dunja Herzog – Meanwhile  and Emma LaMorte – Aussicht  on September 4, 2020 from 1:00 pm till 10:00 pm. The protection of our staff and visitors is very important to us. To ensure that the opening is in accordance with the current corona protection regulations, we will refrain from opening speeches and drinks. We will also regulate access to the building and the several exhibition rooms by security personnel. The number of visitors is limited and we would like to ask you to follow the instructions of the staff. Markings and the guidance system on the wall will also help you to find your way. Furthermore, we kindly ask you to stick to the following rules:
    • It is obligatory to wear a mask throughout the entire building.
    • Please keep a minimum distance of 1.5 metres to other visitors and staff.
    • Please wash your hands frequently and thoroughly or disinfect them with our hand disinfectant, which is available at reception.
    For further information and if you have any questions, please contact us. We thank you for your assistance and look forward to seeing you! Your team of the Kölnischer Kunstverein
  • Lecture: Show & Tell #10 – Tony Conrad, 29.5.2020
    Tony Conrad, Berlin 2011, Copyright: Tabea Lurk
    Fri May 29, 2020, 7 pm – 9 pm

    Tony Conrad: Again and Again 
    Online lecture by Tabea Lurk, Art historian, Basel (in German language)
    with a welcome by Nikola Dietrich, Director Kölnischer Kunstverein

    Inspired by the parcours of the TONY CONRAD exhibition at the Kölnischer Kunstverein, the lecture will show monographic connections. References inherent in the exhibited works are explained. In addition, the US-American artist, who died in 2016, will once again have his say on the basis of his video works, statements and interviews.

    Tony Conrad’s relatively late fame as a gallery or museum artist, which shaped his last years, does not seem to be waning even four years after his death. New ways of reading can still be found, the vitality of the late works still has a convincing effect, and the films of the late 1960s, the videographic works of the 1970s and 1980s, and the musical settings that permeate all phases of life still evoke an era that is partly past, partly continued by others. The artist’s video work forms the starting point for these reflections.

    The lecture can be accessed via the following link and on our website.

    Tabea Lurk studied art history and media theory and wrote her doctorate on Tony Cornad’s video work. After her traineeship at the Zentrum für Kunst und Medientechnologie Karlsruhe (2004-2006), she worked at the Hochschule der Künste Bern from 2006-2015. Since August 2015 she has been head of the media library at the Hochschule für Gestaltung und Kunst FHNW Basel.

    The public program and art education is supported by:

    The exhibition TONY CONRAD is a collaboration between Kölnischer Kunstverein, Cologne, and MAMCO, Geneva, and is based on the touring retrospective organized by the Albright-Knox Art Gallery, Buffalo, New York (2018/19).

    With the kind support of:

  • Screening: Show and Tell #9 – Tony Conrad, Jack Smith, Marc Siegel, 06.03.2020
    Jack Smith, Flaming Creatures, 1962-63, Film Still, Copyright Jack Smith Archive, Courtesy Gladstone Gallery, New York and Brussels
    Tony Conrad, The Flicker, 1966, 16 mm, b/w, 30 min
    Jack Smith, Flaming Creatures, 1963, 16 mm, 45 min
    Flickering, Flaming - Introduction by Marc Siegel, Professor for Film Studies at Johannes Gutenberg-Universität Mainz (in English)

    6 – 8 pm

    With the double presentation of The Flicker and Flaming Creatures, the Kölnischer Kunstverein is showing two films in the framework of the current exhibition, both of which were made as collaborations between Tony Conrad and Jack Smith in the early 1960s in New York and caused scandals. Under the title Flickering, Flaming, film theorist Marc Siegel will outline the unexpected production of the flicker film from Tony Conrad’s experience with Jack Smith.

    In 1962, Conrad graduated from Harvard University and moved to New York City, where he associated primarily with experimental musicians and underground filmmakers. He even became roommates with the notorious filmmaker Jack Smith, who prompted Conrad to apply his musical experiments to making movie soundtracks. Conrad’s own career as a filmmaker began on March 5, 1963, when he, Smith, and Mario Montez, Smith’s muse, became entranced by the flickering light of an old projector. Conrad had learned in college about the effects of this phenomenon on brain waves, and so he attempted to make a mind-altering film of nothing more than black and white frames, based on “harmonies” between the frequencies of the flickering light—a procedure similar to his work with sound frequencies. Praised by critics for its structural qualities, audience reactions at the premiere of The Flicker at the Lincoln Center for the Performing Arts on September 15, 1966, ranged from nausea to hallucinations.

    Tony Conrad produced the soundtrack for Jack Smith’s legendary film Flaming Creatures. Smith’s films are characterized by an unusual low-budget aesthetic and innovations that immediately attracted the praise of the critics. But the open approach to sexuality led to censorship: in 1964 the film triggered one of the biggest scandals in film history and was banned. Soon after, Smith began to use the medium of film not as an independent work, but as a component of performances. Flaming Creatures, probably his most famous film, celebrates a tumultuous harem party with boundless erotic excesses in glamorous black-and-white images.

    Marc Siegel is Professor of Film Studies at the Johannes Gutenberg University in Mainz. His book A Gossip of Images is forthcoming from Duke University Press. In 2014, he edited a special issue of the journal Criticism dedicated to Jack Smith. He is a founding member of the Berlin-based art collective CHEAP. In 2009 he co-curated a massive festival at the Arsenal-Institut für Videokunst and HAU in Berlin, called LIVE FILM! JACK SMITH! Five Flaming Days in a Rented World, which had a spinoff version in Frankfurt/Main at Mousonturm and the MMK Museum of Modern Art in 2012. In this context, he worked with Tony Conrad.

    The program is part of the exhibition TONY CONRAD at the Kölnischer Kunstverein.

    The events in the framework of Show and Tell are sponsored by:


    With the kind support of:

  • Event: Show and Tell #8 – Arjan Stockhausen, 18.02.2020
    Arjan Stockhausen, announcement: Ja (Null Piece), Kölnischer Kunstverein 2020
    Arjan Stockhausen, Ja (Null Piece), 2020

    6 – 10 pm
    4-channel audio file, 240 min

    NO! This sound piece is no sound piece. To listen to this sound piece, do not listen to it. Do not lie down on the floor to listen. Do not lie down on the floor, not to listen. Listen to the silence during the sound, do not listen to the sound during the silence. Do not think of an object while listening, the sound is the object. To lie down on this piece, become this piece, at least. YES!

    The program is part of the exhibition TONY CONRAD at the Kölnischer Kunstverein.

    The events in the framework of Show and Tell are sponsored by:


    Mit freundlicher Unterstützung von:

  • Guest Event: As a guest at the Kölnischer Kunstverein: reiheM, 6. – 13.12.2019
    reihe M, Michaela Melian, MfaFT ©, Michael Pfitzner, Paul Valentin
    Concert Series for Contemporary Music, Electronics and New Media

    Friday, December 6, 2019, 7 – 11 pm and Saturday, December 7, 2019, 11 am – 7 pm
    Music from a Frontier Town
    Sound and video installation

    Friday, December 6, 7.30 – 8 pm
    Michaela Melián in conversation with Prof. Anke Ortlepp

    Re-education. 1,630 vinyl records from the remainder of the public library of the Munich Amerikahaus (1945–1997) are at the centre of Michaela Melián’s sound and video installation Music from a Frontier Town. Visitors are invited to personally select this find from the basement—a selection of jazz, spoken word, classical and new music LPs from the 1950s and 1960s, with which the USA presented itself as a pluralistic cultural nation—and to play it on a DJ console. The Munich artist, musician and radio playwright Michaela Melián, who has received many awards, is known for her often expansive multimedia exhibitions and concerts.

    In collaboration with the Department of North American History of the Historical Institute of the University of Cologne.

    Admission is free.

    Friday, December 13, 2019, 6 – 10 pm
    (Admission possible at any time)
    For modified chessboard and live-electronics (German premiere)

    Chess players: Holger Lieff, Endre Tot, N.N.
    Musicians: Peter Behrendsen, hans w. koch, Tobias Grewenig, Dirk Specht

    Highlight at the end of the reiheM–Anniversary year 2019—With 4 hours of Reunion after Cage. This 114th event completes the circle of the very first reiheM event in January 2009: Variations on Variations after John Cage (also by and with Peter Behrendsen and hans w. koch).

    John Cage’s REUNION for prepared chessboard and live electronics was first performed in Toronto in 1968: with Marcel Duchamp, John Cage and Teeny Duchamp as chess players as well as the musicians David Behrman, Lowell Cross, Gordon Mumma and David Tudor. The distribution of sounds in space and their volume are determined by the positions of the chess pieces, not by the musical and taste preferences of the musicians. Even the chess players are not able to influence the music by certain moves or positions.
    In the sense of Cage’s idea of an egoless, non-intentional music, winning or losing becomes secondary—”a purposeful purposelessness or a purposeless play”.
    The chessboard used in this performance follows the original Lowell Cross constructed in assigning the fields to the inputs and outputs, but was equipped with modern technology (computer programming and MIDI).
    The chess game is flanked by thematically relevant projections of works by the artists Takako Saito and Shigeko Kubota.

    A project by Peter Behrendsen and hans w. koch.

    Admission fee: 10,- / 8,-

    Further information:

    Reihe M – Concert Series for Contemporary Music, Electronics and New Media – Cologne is organized by Mark e.V. and supported by the Cultural Office of the City of Cologne and the Ministry of Culture and Science of North Rhine-Westphalia.

  • Performance: Show and Tell #6 – Juliette Blightman, 13.11.2019
    Show and Tell #6 – Juliette Blightman, Kölnischer Kunstverein 2019, photo: Mareike Tocha, Courtesy of the artist and gallery Isabella Bortolozzi, Berlin
    The Year of the Pig

    An event as part of the exhibition Maskulinitäten.

    Performance Lecture by Juliette Blightman featuring films from Maria Lassnig and Chantal Akerman amongst others. Followed by No Opening SS 2020 Collection with music by Anthony Silvester (Technology + Teamwork). Lecture starts 7.15 pm, Runway Show 7.45 pm.

    The main theme of the artist´s work is the relationship between art and life. She creates her works like continuous diary entries which are articulated in various media. She films, paints and writes in a radical subjective way and makes the personal public.

    Watch the video documentation of the performance here.

    The events in the framework of Show and Tell are sponsored by:

    With the kind support of:

  • Special Event: Night of Museums at the Kölnischer Kunstverein, 02.11.2019

    Guided Tours and Screening by Jonathas de Andrade O Peixe (the Fish)

    Exhibition: Maskulinitäten. Eine Kooperation von Bonner Kunstverein, Kölnischem Kunstverein und Kunstverein für die Rheinlande und Westfalen, Düsseldorf

  • Screening: Show and Tell #5 – Arwen Curry and Helke Sander, 11.10.2019

    Double Feature: The Worlds of Ursula K. Le Guin by Arwen Curry and Die Deutschen und ihre Männer by Helke Sander

  • Event: Show and Tell #4 – Julia Scher, 19.09.2019
    Julia Scher, Discipline Masters (filmstill), 1988, Courtesy the artist and Esther Schipper, Berlin
    Discipline Masters

    An event as part of the exhibition Maskulinitäten.

    A long night with night with Julia Scher (Professor, Academy of Media Arts Cologne) and guests including a screening of her 4-hour film Discipline Masters (1988) – a cathartic retelling of her youth, which informs Scher‘s interest in themes of surveillance and the notion of a sexualized and controlling gaze.

    The events in the framework of Show and Tell are sponsored by:

    With kind support of:

  • Event: Maskulinitäten. A Conversation., 16.09.2019
    Maskulinitäten. A Conversation, 2019, Photo: Mereike Tocha

    An event as part of the exhibition Maskulinitäten.

    Eva Birkenstock, Michelle Cotton and Nikola Dietrich in conversation with Nelly Gawellek, Jürgen Klauke, Bea Schlingelhoff, Evelyn Taocheng Wang and other participating artists. (in English)

  • Event: Show and Tell #3 – Gerry Bibby, 01.09.2019
    Show and Tell #3 – Gerry Bibby, Kölnischer Kunstverein 2019, Photo: Mareike Tocha
    Tectonic Mnemonic

    An event as part of the exhibition Maskulinitäten.

    The installation devised by Gerry Bibby for the exhibition takes the form of a flexible platform for readings with invited guests. This work offers visitors an insight into the artist‘s collection of notes and source materials that inform the artist‘s work and writing, and which form part of the performance.

    The events in the framework of Show and Tell are sponsored by:


    With the kind support of:

  • Event: Show and Tell #2 – Stella von Rohden and Sascha Kregel, 09.07.2019
    Stella von Rohden and Sascha Kregel, announcement for the presentation of Cave Echoes at the Kölnischer Kunstverein 2019

    Organized by Miriam Bettin

    Under the title CAVE ECHOES, Stella von Rohden and Sascha Kregel present a new, process-oriented work in the studio space of the Kölnischer Kunstverein.

    In their artistic practices, they share an interest in becoming, especially the genesis of image and sound. The point of reference of the work shown here are the Metamorphoses of Ovid, in which the poet tells the story of the emergence of the world out of chaos through mythological stories of transformation. Based on the measure of the hexameter, sound fragments were created with synthesizers that, when mixed live, dissolve in a flat structure. The video images show the Prometheus Cave in Georgia, a scene of the Metamorphoses. Opposite is the goddess Athena. The figures quoted are Narcissus and Echó: Echó, who withers away from unrequited love for Narcissus until she is nothing but a voice. Narcissus, on the other hand, falls in love with his own reflection and is punished by Nemesis, the goddess of revenge.

    What wave is, he considers body.

    Stella von Rohden (* 1987 in Bremen) lives and works in Cologne. After studying Fine Arts at the University of Arts in Belgrade, she graduated at the Hochschule für Bildende Künste Braunschweig with Frances Scholz in 2018. Her work has recently been shown in a solo exhibition at the Kunsthaus Bellamartha in Grafrat (2018) as well as in group presentations at the Städtische Galerie in Hanover (2018), the Kunstverein Braunschweig (2017) and at Shoot the Lobster in New York (2017).

    Sascha Kregel (* 1989 in Halle / Saale) lives and works in Cologne. In 2018 he graduated from the College of Fine Arts in Braunschweig. His works were shown in group exhibitions in the gallery Dechanatstraße Bremen (2018), at the Kunstverein Braunschweig (2017), at Shoot the Lobster in New York (2017) and at the Museum of Photography in Braunschweig (2016), among others.

    Both artists are current fellows of the studio program at the Kölnischer Kunstverein.

    The events in the framework of Show and Tell are supported by:


    With the kind support of:

  • Event: Double Screening selected by Jay Chung and Q Takeki Maeda, 19.06.2019
    Filmstill L for Leisure (USA 2014) by Lev Kalman and Whitney Horn

    5 pm Westend (D 2001) by Markus Mischkowski and Kai-Maria Steinkühler
    89 min, 35 mm, b/w, German with English subtitles

    6.30 pm L for Leisure (USA 2014) by Lev Kalman and Whitney Horn
    73 min, color, English

  • Event: Double Book Launch with Jay Chung and Q Takeki Maeda, 06.06.2019
    Letters, 2019 by Jay Chung and Q Takeki Maeda

    at 7 pm
    Double Book Launch with Jay Chung and Q Takeki Maeda:
    Letters (2019) and Jay Chung and Q Takeki Maeda x Teruo Nishiyama (2017)
    accompanied by an artist talk with Jay Chung and Q Takeki Maeda in conversation with Nikola Dietrich, a reading by Jay Chung and a screening of the artists’ film She’s Gone (2009)

    at 5 pm
    Guided Tour through the exhibition The Auratic Narrative by Jay Chung and Q Takeki Maeda with the director Nikola Dietrich

    The artist books can be purchased at Kölnischer Kunstverein, and through the artists’ website:

  • Event: Show and Tell #1 – Jasmin Werner, Philipp Kleinmichel and pogendroblem, 28.05.2019
    Show and Tell #1 – Jasmin Werner, Phillip Kleinmichel, pogendroblem, Graphics: Lotte Meret Effinger

    Scalalogia and The Wheel of Life (2019), Book Launch with Jasmin Werner and a lecture by Philipp Kleinmichel in combination with a concert by pogendroblem

    Organised by Miriam Bettin

    Watch the recording of the event here.

    As part of the first edition of Show and Tell, Jasmin Werner and Miriam Bettin will introduce the publication Scalalogia and The Wheel of Life (2019), published by Verlag der Buchhandlung Walther König. On this occasion, philosopher Philipp Kleinmichel and the punk band pogendroblem will be presenting a dialogic lecture with a concert. Based on the leitmotif of the staircase, the evening is dedicated to the subject determined by capitalism, searching for happiness, freedom, and success somewhere between consumption, creativity, and spirituality, between competition and self-actualization.

    Scalalogia and The Wheel of Life (2019) by Jasmin Werner has been released beginning of the year on the occasion of her first institutional solo exhibition in the Remise of the Kunstverein Braunschweig. In cooperation with the Friedrich-Mielke-Institute for Scalalogy, the exhibition catalog includes not only installation views and images of the individual works, but also texts that deal with aspects regarding the history of art and architecture in Jasmin Werner‘s practice as well as original texts by Friedrich Mielke. With contributions by Miriam Bettin (curator and editor), Jule Hillgärtner (director Kunstverein Braunschweig), Philipp Kleinmichel (Zeppelin Universität), Harry Thorne (Associate editor frieze), Sophie Schlosser (Friedrich-Mielke-Institute for Scalalogy, OTH Regensburg) and Chloe Stead (freelance writer and critic).

    Jasmin Werner (* 1987 in Troisdorf) lives and works in Cologne. In 2016 she graduated from the Staatliche Hochschule für Bildende Künste Städelschule in Frankfurt am Main. Her work has been shown in solo exhibitions at the Kunstverein Braunschweig (2018), Gillmeier Rech, Berlin (2017), MI / mi1glissé, Berlin (2016) and RM, Auckland (2014) and in group exhibitions at Braunsfelder, Cologne (2018), Saloon, Brussels (2018) and at the Folkwang Museum, Essen (2017). In 2017, Jasmin Werner completed a residency at the National Museum of Modern and Contemporary Art, Seoul. Since this year she is a scholarship holder of the studio program of the Kölnischer Kunstverein.

    Philipp Kleinmichel studied philosophy, art, and media theory in Freiburg, Karlsruhe and New York. He is a graduate of the Independent Study Program at the Whitney Museum of American Art and was a fellow of Akademie Schloss Solitude. Since January 2018 he is a research assistant at Zeppelin University and was previously a lecturer at the University of Gießen, the University of Hamburg and the UDK Berlin. His research is on the transformation of art and mass culture in the digital age.

    so-called ‘pogendroblem’, the Enfant Terrible of the Deutschpunk, have made their way from the Bergisch Gladbacher province to the metropolitan area of Cologne, where they are equally lost between pubs and competence marathon on public transport and in private-political conditions to enjoy the bad life. Their chitchat is said to be a pinch 80s, a bit of Hamburger Schule, and a nose of garage, some pop cuteness. Four white, mostly asset-backed academic cis men have little to report here. The private is political, but the private can also be boring. But they really try hard and are enthusiastic. In 2018 they released their album Erziehung zur Müdigkeit.

    Show and Tell is an ongoing, autonomous series of events with shifting formats. Inivited are various guest, among those artists, authors, and musicians.

    The events in the framework of Show and Tell are supported by:


    With the kind support of:

  • Event: Slideshow by Jay Chung & Q Takeki Maeda, 14.05.2019
    Moulting 2019, Jay Chung and Q Takeki Maeda, Diashow at the Kölnischer Kunstverein 2019

    Moulting, 2019

    Public program of the exhibition
    The Auratic Narrative

    Tuesday May 14, 2019, 11 am – 6 pm

  • Workshop: Pure Fiction / Wu Ming Open Mike, 21.02.2019
    Pure Fiction

    Pure Fiction, a writing seminar at Frankfurt’s Städelschule lead by author Mark von Schlegell, will conduct an “open mike” writing workshop in the Kölnischer Kunstverein. Author Wu Ming joins as a special guest as members of the seminar perform texts and workshop them publicly. Audience members are encouraged to bring their own texts to workshop.

    Wu Ming is a pseudonym for a group of Italian authors formed in 2000 from a subset of the Luther Blisset community in Bologna. The collective is formed of writers active in literature and popular culture. The group authored several novels such as 54 and Manituana. For the open-mike-workshop Pure Fiction will be joined by Wu Ming 1.

    From 2011-2018, students of Städelschule invited writer Mark von Schlegell to organise a fiction seminar in the school. Since then Pure Fiction has brought together current and former Städel students to examine and above all produce texts in the most diverse forms possible, from written artistic works and experimental writing to readings and performances that inevitably draw in other aspects of the diverse artistic practices of all the class members. The works of authors from Cervantes to Woolf form the pre–given raw material of the seminar. An engagement with the material and quasi-mystical properties of printed matter have led the class to produce numerous experimental publications, readings and performances on narrative or poetic footings.

    The workshop will be conducted in English.

  • Lecture: Bruno Feitler, 16.02.2019
    Portrait of Bea Feitler by Bob Richardson, 1960s
    The work and life of Bea Feitler

    On the occasion of the exhibition Power of Print, the professor of history Bruno Feitler from São Paulo will present a lecture on the life and work of his aunt, the late Brazilian graphic designer Bea Feitler. Bruno Feitler is responsible for the archives of Bea Feitler, and in 2012 edited the extensive publication O Design de Bea Feitler.

    Please note that the event will be filmed.

  • Event: Luzie Meyer und Johanna Odersky, 19.12.2018
    Luzie Meyer and Johanna Odersky, Cut-Up event, Kölnischer Kunstverein, 2018, photo: Simon Vogel
    Program of the exhibition Cut-Up: Film, exhibition and performance by Luzie Meyer und Johanna Odersky

    Luzie Meyer’s performances, films and sound pieces reflect contemporary image production and the entanglements of the “I” within itself and with its environment. Luzie Meyer’s performance The Flute, which was performed at the Kunstverein on March 28, 2018, documented itself. The rehearsal situation around the flutist was also the plot. Meyer and the performers filmed each other. Mise-en-abyme, The Flute returns to its place of origin and celebrates its premiere as a film in the Kunstverein. Johanna Odersky works in sculpture and as Iku with electronic sound to build different spaces and atmospheres and then tear them down again. She cuts her sculptures from steel sheets. Fragile and flexible, they take different shapes adapting to the space in which they are shown. In her performance as Iku (live) Odersky samples melancholic indie tracks. Associatively cut-up and interwoven, they merge like a memory into haziness.

    Please note that the event will take place in English and will be filmed.

    Luzie Meyer, The Flute, 2018
    Johanna Odersky, Iku (live),
    organised by Juliane Duft

  • Event: Bonnie Camplin, Starship Magazin, Eric D. Clark, 16.12.2018
    Starship #18
    Program of the exhibition Cut-Up: Filmscreening and Talk with Bonnie Camplin, Starship magazine, Record Release Musix’ Lost Its Colour with Eric D.Clark

    A psychoacoustic urbanistic evening with audiovisual presentations by Bonnie Camplin, Starship, and Eric D. Clark.

    Heygate for Life (2011), a film by Bonnie Camplin and a talk on points of connection between Brion Gysin, John C. Lilly and Aug Tellez.

    A preview of the latest issue of the Berlin art magazine Starship: #18 “Gibt es Communities, gibt es Geister? Lass dich testen!” with the co-publishers Ariane Müller, Nikola Dietrich, Gerry Bibby, Martin Ebner, and Henrik Olesen. Screenings of video works by Klara Liden, Calla Henkel & Max Pitegoff, Michele di Menna, and Martin Ebner, and an installation by Timothy Davies.

    Eric D. Clark presents the EP Musix’ Lost Its Colour (2018) and the music video for the track by Martin Ebner. Accompanied by the lecture Etymological Deconstruction Cyclicals of Musix’ lost colour about aspects of synesthesia, together with a sound installation by Jasmin Matthies and Dave Carbone (Caribic Residency).

    Please note that the event will take place in English and will be filmed.

  • Event: Marte Eknaes und Michael Amstad, 13.12.2018
    Michael Amstad and Marte Eknæs, People Mover, 2017, Filmstill, all rights reserved
    Program of the exhibition Cut-Up: A People Mover Evening - Filmscreenings by
    Marte Eknaes & Michael Amstad and Artist Talk with Nikola Dietrich (in English)

    The artist Marte Eknæs who participates in the exhibition Cut-Up will present together with the filmmaker Michael Amstad an evening with a film program consisting of three films. The program evolves from their latest film work, People Mover (2017, that combines documentary material, found footage, and 2D/3D animation to show the construction and daily life of an imaginary city. Additional to that John Smith’s Blight (1994–96) and Charles Atlas & Karole Armitage’s From An Island Summer (1983–84) will be screened. Utilizing distinct visual languages, the three films are connected through the topics of the constructed urban space, movement and flexibility. The program is a journey through different emotional states and atmospheres, guided by each film’s compelling use of soundscapes and music. The screenings are followed by an artist talk with Nikola Dietrich.

    Please note that the event will take place in German language and will be filmed.

    Watch the recording of the event here.

  • Event: Helene Hegemann und Deborah Schamoni, 07.12.2018
    Program of the exhibition Cut-Up: Reading and films by Helene Hegemann and Deborah Schamoni

    Helene Hegemann, writer from Berlin and Deborah Schamoni, gallerist from Munich, read conversations with psychologists from various contemporary literature (f.e. Tracy’s Tiger by William Saroyen).
    Additional to that, thematically associated YouTube videos will be shown .

    Please note that the event will take place in German language and will be filmed.

    With the kind support of Gaffel.

  • Event: Kerstin Cmelka und Mario Mentrup, 04.12.2018
    Kerstin Cmelka and Mario Mentrup, Die Angreifbaren, photo: Eric Bell
    Program of the exhibition Cut-Up: Im Trailerpark der Angreifbaren - A Sideshow Variéte to the film Die Angreifbaren by Kerstin Cmelka und Mario Mentrup

    For their film Die Angreifbaren (The Attackables, release: beginning of 2019), the directors Kerstin Cmelka and Mario Mentrup present a CHALLENGE, a TRAILERPARK, GIFTS and a MICRODRAMA suiting the the pre-Christmas season. Bets can be made! Guests are Rainer Knepperges (Die Quereinsteigerinnen) and Sven Heuchert (Dunkles Gesetz). We are looking forward to your visit!
    Blog to the film Die Angreifbaren.

    Please note that the event will take place in German language and will be filmed.

    Watch the recording of the event here.

    With the kind support of Gaffel.

  • Performance: Ellen Yeon Kim und Mark von Schlegell, 30.11.2018
    Ellen Yeon Kim, 2018
    Program of the exhibition Cut-Up: Radio Play / Performance by Ellen Yeon Kim and Mark von Schlegell, MUFA (Museum of Unfinished Art)
    40 min, in English

    MUFA (The Museum of Unfinished Art) is a science fiction story built out of cut-up writings of Mark von Schlegell, delivered through dramatic reading, sound and projection by Ellen Yeon Kim and Mark von Schlegell. Kim und von Schlegell met in 2012 during von Schlegell’s Pure Fiction Seminar at Staedelschule, Frankfurt. They have collaborated on numerous performances and theatrical productions since, and co-directed the Ellen Yeon Kim scripted interpretation of William Shakespeare, Der Tempest, performed by Pure Fiction at Kunsthalle Darmstadt 2017.

    Performed and directed by Mark von Schlegell and Ellen Yeon Kim 
    Sound by Ellen Yeon Kim and Mark von Schlegell Film by Ellen Yeon Kim
    Text by Mark von Schlegell

    Mark von Schlegell (b. 1967) has worked as a writer and as an artist / performer / producer since the 1990′s. His science fiction novels are published by Semiotexte. His shorter writings appear in art catalogs, magazines and films the world over. His latest literary theory / art-book crossover Realometer Re-Loaded is out now from Jan Kaps, Cologne.

    Ellen Yeon Kim (b. 1985) works as an artist and a writer/translator. Using the mechanism of narrative, she works with the fallacy of the virtuousness imposed by society. Ellen works with video/photo installations, sound, poetry and theatre; she studied at Städelschule, in the class of Peter Fischli and of Simon Starling and graduated as Meisterschülerin, and studied at Slade School of Art for her BA. Her last reported location is available on

    With the kind support of Gaffel.

  • Event: Rirkrit Tiravanija und Karl Holmqvist, 23.11.2018
    Bild aus Der Alltag (Sensationen des Gewöhnlichen), Nr. 482, Thema Warten!
    Program of the exhibition Cut-Up: Film screening, Karl’s Perfect Day - Rirkrit Tiravanija (2017, 94 min), Reading by Karl Holmqvist and Artist Talk with Nikola Dietrich
    in English

    In the film Karl’s Perfect Day the artist Rirkrit Tiravanija portrays the artist and poet Karl Holmqvist through his idea of a perfect day, following him from the moment he wakes up until going to sleep. Since the 1990′s Holmqvist has worked with text and its visual representation in posters, wall drawings, installations, videos and readings. He converges fragments of songs, political pamphlets, literature and single letters as the smallest entity of text to shift meanings and create ambiguities. Similar to his artistic works, the film is a collage of people, places, sounds, images and texts – a day without extravagant aspirations but with moments of contentedness and small pleasures.

    Watch the recording of the reading here.
    Watch the recording of the artist talk here.

    With the kind support of Gaffel.

  • Workshop: Ayasha Guerin, organisiert von Taylor Macklin, 23.11.2018
    Bild aus Der Alltag (Sensationen des Gewöhnlichen), Nr. 482, Thema Warten!
    Program of the exhibition Cut-Up: Workshop Politics and Space with Ayasha Guerin, organised by Taylor Macklin, in English

    Within the framework of the exhibition Cut-Up the formely Zurich-based exhibition space Taylor Macklin, will organize the exhibition Sorry I’m Late. XOXO Echo addressing the nature and possible interpretations of spaces and their conditions.

    In the workshop Politics and Space, Ayasha Guerin will invite the participants by means of social and communicative methods and with the help of possible scenarios – ie. Shared Socioeconomic Pathway Narratives – to create collaborative spaces for interventions in our imaginary future.
    Ayasha Guerin is an artist and scholar in social science based in New York. Her work explores themes of urban ecology, community and security in public and private space. She is currently a Fellow of Urban Practice at the Urban Democracy Lab at New York University.

    With the kind support of Gaffel.

  • Artist Talk: Julien Ceccaldi, 09.09.2018
    Portrait Julien Ceccaldi, photo: HejiShin, Copyright House of Gaga Mexico City

    with the presentation of Japanese Animes (in Engl.)

  • Event: Filmscreenings during the exhibition Solito by Julien Ceccaldi, 8.9. – 11.11.2018

    Thu 9720, 6 pm
    Kunihiko Ikuhara, La Fillette Revolutionnaire Utena, 1999 (in the original with German subtitles)

    Tue 9/25, 6 pm
    Catherine Breillat, Barbe Bleue, 2009 (in the original with Engl. subtitles)

    Thu 10/11, 6 pm
    Catherine Breillat, La Belle Endormie, 2011 (in the original with Engl. subtitles)

    Thu 10/18, 6 pm
    Mori Masaki, The Door into Summer, 1975 (in the original with Engl. subtitles)

    Thu 10/25, 6 pm
    Catherine Breillat, 36 Fillette, 1988 (in the original with Engl. subtitles)

    Wed 11/7, 6 pm
    Chantal Akerman, Golden Eighties, 1986 (35mm, in the original with German subtitles)
    with an introduction by Juliane Duft

  • Event: Aus- & Vortragen – Albrecht Fuchs, 28.6. – 1.7.2018
    Albrecht Fuchs, João Maria Gusmão & Pedro Paiva, Düsseldorf 2018
    31 Portraits - Book launch and exhibition by Albrecht Fuchs

    With 31 Portraits, the Kölnischer Kunstverein presents a new publication and exhibition by Cologne-based photographer Albrecht Fuchs. The photographs at the center of the exhibition depict artists who exhibited and performed at the Kölnischer Kunstverein between 2014 and 2018. The series of images offers a partial documentation of the institution’s various activities over the last few years on one hand while giving an impression of the people who have been responsible for the works and presentations on the other. The project represents Moritz Wesseler’s last at the Kölnischer Kunstverein, which he has successfully led in his role as director over the past five years.

    Admission free

    With the kind support of:

  • Performance: Aus- & Vortragen – Gerrit Frohne-Brinkmann, 20.06.2018
    Gerrit Frohne Brinkmann, Roy & Siegfried (Detail), 2018
    Roy & Siegfried

    In his works, Gerrit Frohne-Brinkmann (*1990) investigates the history of mankind through the culture of entertainment. His installations, sculptures, and performances trace attractions, shows, and popular performance formats by using their outward look, effects, and mechanisms while undermining them at the same time. His interest here lies in the immediate entertainment value that he extracts from illusion, magic, and film as well as the natural sciences and carries over into the visual arts. One of his installations, for example, borrowed mummies from a film prop house that appeared almost animated and defenseless in an art space, but also revealed their extreme artificiality upon closer inspection.

    For this installment in the Aus- & Vortragen event series, Gerrit Frohne-Brinkmann has developed a performance titled Roy & Siegfried that follows the biography of the magic duo known for their tiger shows. Personal memories and public images of the two entertainers meld together in a performance that allows their self-constructed myth to be experienced on another unreliable narrative level. The magic of appearance and being – always a component of art as an imitation of reality – is multiplied as it is revealed in Frohne-Brinkmann’s performance.

    The performance will take place in German. Please note that the event will be filmed.

    With the kind support of:

  • Performance: Aus- & Vortragen – Isabella Fürnkäs, 13.06.2018
    Isabella Fürnkäs, Hide and seek, 2010-2018
    The Boomerang Effect

    With her art, Isabella Fürnkäs (*1988, Tokyo) attempts to build a bridge between the manifestations of the digital age and that of the supposedly old world in which physicality still plays a role. In drawings, collages, performances, video works, and installations, she exposes the present day as a confusing thicket of surfaces that can hardly be penetrated as ever more layers open up. In her delicate coffee stain watercolors, for example, skin-colored faces appear like masks behind which is something unclear – Hide & Seek. Ultimately, what’s often concealed behind all of these layers is nothingness.

    In the two-part performance The Boomerang Effect (2018), which she presents as part of the series Aus- & Vortragen curated by Juliane Duft, communication sounds as if it were echoing back from the facades of words. One can sense human desire and emotional fragility behind them in the same way they are also revealed in Fürnkäs’ other works.

    Performers: Nikolas Brummer, Jan Seevetal, Christiana Cott Negoesco and Isabella Fürnkäs

    The performance will take place in English. Please note that the event will be filmed.

    With the kind support of:

  • Event: Aus- & Vortragen – Alexey Vanushkin, 09.05.2018
    Alexey Vanushkin, Alphabet, 2017, Filmstill
    Are we entertainment? - A presentation by Alexey Vanushkin

    Starting with images and texts gleaned from pop culture, advertising, and literature as well as personal materials, Alexey Vanushkin explores existential themes such as the pursuit of meaning and happiness in his film works and installations. In the work W. (2018), for example, enticing advertising images meet lines of songs by the band Joy Division. The film Alphabet (2017), in contrast, uses found visual material to illustrate a sequence of ideas and seems to catalogue the tragedy of human coexistence. The works oscillate between touching, almost kitschy moments and a dry, detached confrontation with the shallows and absurdity of life. They are, at first glance, as seductive as the media environment. Having said that, they continually return viewers to their own privileged points of view that have been shaped by societally ideal images.

    Born in Russia in 1988, Vanushkin will give a general introduction to his practice based on his film works. Aus- & Vortragen is curated by Juliane Duft.

    The presentation will take place in English. Please note that the event will be filmed.

    With the kind support of:

  • Performance: Aus- & Vortragen – Luzie Meyer, 28.03.2018
    The Flute

    Luzie Meyer (born 1990 in Tübingen) creates performances, films and sound works as part of her artistic practice. A special focus of her work is the psychology of the human being with all its references to the environment.

    In the performance The Flute (2018), produced for the Kölnischer Kunstverein, the Riphahn-Saal functions, so to speak, as a stage for the rehearsals of a new film by Luzie Meyer. The performance is divided into five acts, with an ensemble consisting of a narrator, a flutist, a camerawoman and a prompter. Film images projected in real time double the action in the space. fiction and reality interweave.

    The curatorial supervision of the lectures and talks is provided by Juliane Duft.

    Performer: Lisa Gutscher (souffleuse), Emma LaMorte (camera person), Luzie Meyer (Narrator), Theresa Patzschke (flutist)

    The performance will take place in English. Please note that the event will be filmed.

    With the kind support of:

  • Performance, Screening: Aus- & Vortragen – Henning Fehr & Philipp Rühr, 07.03.2018
    Henning Fehr and Philipp Rühr, Studio Visit, 2017, Filmstill, Courtesy the artists

    Studio Visit

    Henning Fehr (b. 1985, Erlangen) and Philipp Rühr (b. 1986, Brühl) work on films that appear to be documentaries in which they simultaneously act as both the observers and the protagonists. In them, they investigate the places and spheres that constitute social identities and with which utopian promises connect on the margins of our capitalist world: the art market, cultural institutions such as museums, or even techno clubs and music festivals. Engaging in the slow rhythm of the films, one perceives the nuanced complexity of the social constructs that are associated with the different phenomena. Fehr and Rühr appear to be in search of the original and the primordial in western culture. Through sculptures, paintings, and texts, their exhibitions expand their films into an interplay of different “voices” in the space.

    In a performance prepared for the Kölnischer Kunstverein, the former Kölnischer Kunstverein studio scholarship recipients will present excerpts from the films Studio Visit (2016) and Empty Village (2017). An live audio commentary will accompany the moving images so that Fehr and Rühr undermine the form of a classic film presentation.
    Aus- & Vortragen is curated by Juliane Duft.

    The performance will take place in German and English. Please note that the event will be filmed.

    With the kind support of:

  • Guided Tour: Curatorial tour through the current exhibition with Moritz Wesseler, 28.02.2018

  • Event: Aus- & Vortragen – Claus Richter, 06.12.2017
    Advent with Claus Richter. A Light In The Dark
    Christmas special – A Light In The Dark

    This year the Cologne artist Claus Richter will put into practice the theory he has developed in recent years in his Christmas lectures at the Kölnischer Kunstverein on the history and appearance of Christmas. With his own and traditional stories and songs, a self-written Christmas play, a special stage design and many little surprises, Richter will transform the stage of the Kölnischer Kunstverein into a Christmas wonderland on St. Nicholas Day.

    The play will take place in German. Please note that the event will be filmed.

    Supported by:

  • Artist Talk, Screening: Aus- & Vortragen – Ani Schulze, 29.11.2017
    Ani Schulze, Finding the fawn, Courtesy the artist
    Merchants Freely Enter

    In her installations, films, and drawings, Ani Schulze (*1982) creates visual worlds in which history and stories are not told in a conventional manner, but rather encircled in dreamlike images. For example, abandoned architectural structures or cultivated landscapes are scanned by means of a camera and then slowly revealed in her films in the form of rhythmic sequences. With the places she shows, Schulze explores the (failed) utopias of modernism as well as the relationship between man and nature. She examines social developments both past and present using the latest media technology, such as drones, as well as visual formulas and pictorial traditions drawn from landscape painting or comics.

    As part of the lecture series AUS- & VORTRAGEN, Ani Schulze will show the work Aerial Vortices (2015) and her latest film Merchants Freely Enter (2017), which was created during her artist residency at Schloss Ringenberg. Within this context, she will speak about forces of gravity, bird’s-eye views, camouflage, Robobirds, picnics, cornfields, and surveillance panoramas.

    The lecture will take place in German. Please note that the event will be filmed.

    With the kind support of:

  • Lecture: Aus- & Vortragen – Thomas Wachholz, 15.11.2017
    Thomas Wachholz, filmstill from CMYK, 2012, 02:03 min; Courtesy the artist

    Thomas Wachholz (* 1984, lives and works in Cologne) examines the general conditions of industrial, handicraft, and artistic production in his formally reduced works. His works are imbued with conceptual thought and particularly emphasize both the significance and necessity of personal choice and social interaction. Wachholz’ practice is reminiscent of the efficient structuring of everyday work, the functionality and monotony of which fascinates him. For each of his groups of works, he defines a set of rules that describes processes within which materials, substances, or participants respond to each other. For example, he rubs off the color of a printed banner, creates a drawing by means of lighting matches, or has a billboard continuously rehung. Even though the linear production processes may seem unromantic, it is precisely in this that the poetry of the works lies. There is no going back in its process – Wachholz, however, sounds out the depths within the conditions that have been imposed upon it. In this way, the subjective is absorbed into the works and becomes perceptible in details and nuances.

    Thomas Wachholz will introduce his practice at the event and also show an installation that was developed in cooperation with Juliane Duft and realized especially for the Kölnischer Kunstverein.

    The lecture will take place in German. Please note that the event will be filmed.

    With the kind support of:

  • Lecture: Aus- & Vortragen – Jonathan Monk, 08.11.2017
    Jonathan Monk, announcement for the lecture at the Kölnischer Kunstverein 2017

    One Year

    Jonathan Monk (*1969, Leicester, UK) became known through his appropriation and restructuring of works of Minimal and Conceptual Art, or also Postmodernism. His artistic work – now an integral part of the international scene – has been characterized since the beginning by an analytical acumen that is generally broken by a humorous tone. In his wall works, drawings, sculptures, photographs, and films, he explores the concept of the original as well as the cult of the personality that dominates the art world, or aspects of homage and reference. Monk’s works are always associated with the objective of paying respectful tribute to the person quoted, while demystifying their practices in the same way. Time and time again, he shows in the gaps opened up by his rewritings, transformations and shifts that the personal is also a motor of artistic production.

    In the lecture One Year, the British artist will speak about his work with a special focus given to works produced over the last twelve months.

    The lecture will take place in English. Please note that the event will be filmed.

    In cooperation with Mélange:

    With the kind support of:

  • Artist Talk: Aus- & Vortragen – Matthias Sohr, 25.10.2017
    Matthias Sohr, Generational 2016, Courtesythe artist and ACUD gallery, Berlin, photo: Eric Bell
    Installation and artist talk by and with Matthias Sohr

    Matthias Sohr (* 1980) appropriates frequently overlooked objects and signs from everyday spaces. In his installations, he liberates stair lifts, handrails, circuit boards, and language from their intended use so that they appear technically cool and “uncannily” autonomous without a reference to the human body. Their forms appear aesthetically reduced in the context of an art space, perhaps even elegant. Since the objects point to their surroundings, they deliver formal references to minimal art. As post-minimalist implementations, however, they cast shadows back to their places of use. The relationship between object and viewer, the human body and technology, is re-experienced through its psychological, emotional dimension.

    Matthias Sohr will guide visitors through his installation as part of the Aus- und Vortragen event, which is curated by Juliane Duft.

    Please note that the event will be filmed. We would also like to point out that the event space is not barrier-free. Please let us know in advance if we can support you in your visit in this respect.

    With the kind support of:

    This event is also supported by:

  • Special Event: 50 Jahre Kölner Architekturpreis, 23. – 27.9.2017
  • Special Event: OG OPEN, 10.09.2017
    OG OPEN, Ankündigungsmotiv zur Veranstaltung im Kölnischen Kunstverein 2017

    The Kölnische Kunstverein, in cooperation with both DC Open 2017 as well as the Open Studios of the city of Cologne, is pleased to present its ten resident artists.

    On September 10th from 12:00 noon until 6pm the following artists will exhibit works in their studios:

    Albrecht Fuchs, Erika Hock, Jan Hoeft, Cameron Jamie, Stefanie Klingemann, Alwin Lay, Peter Miller, Ralph Schuster, Thomas Wachholz und Alex Wissel.

    Entrance is free of cost and open to all. Refreshments will be provided.

  • Lecture: Aus- & Vortragen: Honza Zamojski, 07.06.2017
  • Artist Talk, Screening: Aus- & Vortragen – Eva Kotátková and Noemi Smolik, 24.05.2017

    The Judicial Murder of Jakob Mohr (CZ, 2016, Czech with English subtitles, 63 min) recounts the story of the psychiatric patient and artist Jakob Mohr, who was convinced that his actions were being controlled by his doctor with the aid of a mysterious machine. Mohr depicted this machine in many of his drawings as a wooden box that transmitted beams or waves that passed through his body and took control of him. The drawing Justizmord (Judicial Murder) from 1909–1910 is of a trial depicted from self-contradictory perspectives. The victimised Mohr appears in the role of the accused and his doctor is shown to be an eavesdropper and manipulator influencing the machine and the institution of the court. Mohr identifies many disguised patients and doctors who support his theory of the monstrous conspiracy against him. The drawing becomes the scene for a staged session of the court where Mohr is presented as artist, patient and criminal and in which not only his visions but also other motifs and figures associated with art brut lay claim to their own right to exist. Mohr offers us a report on the details of the legal trial that takes place in his head and into which fragments appear from the outside world of his medical records, criminal records, and an analysis of his drawing from the point of view of its aesthetic qualities.

    The film and performance were created and produced in collaboration with Are | and supported by the Czech-German Fund for the Future, the City of Prague, the Ministry of Culture of the Czech Republic and its Culture Fund, and PLATO – platform (for contemporary art) Ostrava / City Gallery Ostrava and Trojhalí Karolina, association of legal entities.

    Please note that the event will be filmed.

    With kind support by:

  • Artist Talk, Performance: Aus- & Vortragen – Mary-Audrey Ramirez and Vince Tillotson, 17.05.2017
  • Screening: Aus- & Vortragen – Jan Bonny und Alex Wissel, 27.04.2017
    A cinematographic project

    The day after Germany won the World Cup 2014, Helge Achenbach boarded a flight to Düsseldorf and was arrested on landing. It’s the downfall of a wily art dealer who played in the big league, supplying art to major corporations to the tune of hundreds of millions of Euros. Greed and glamour collide. Now he’s behind bars. Behind the great history of the art business, the issues of neoliberalism arise – in the artworks, the spirit and bodies of the Rhineland. The main question is, how did Joseph Beuys’ motto that “Everyone is an artist” become the modern ego society? Director Jan Bonny and artist Alex Wissel present their scenic research on the topic, as a challenge to both the art and film worlds. With Matthias Brandt, Bibiana Beglau, and Joachim Król as just slightly tweaked fictional characters.

    Watch the trailer here.

    Please note that the seats are limited and we advise to be at the Kölnischer Kunstverein at least 30 minutes before the start of the screening.
    There is no booking, only box office tickets available.

    With kind support by:

  • Lecture: Aus- & Vortragen – Michael Sailstorfer, 15.03.2017
    Michael Sailstorfer, installation view, Johann König 2017

    Michael Sailstorfer (* 1979 in Velden) became known in the early 2000s with sculptures, installations, films, and photographs that are characterized by a subtle humor and great metaphorical potential. The starting point for many of his works are situations of everyday life or social and ecological problems, which he presents to the viewer from a different angle. An example of this practice is the work “Antiherbst” (Anti-Autumn), for which he collected the leaves of an ash tree towards the end of 2012, painted it and then reattached it to the tree. For his current exhibition in Berlin, on the other hand, Sailstorfer replaced the engines of various vehicles with standard stoves to focus on the relationship between nature and industrialization.
    In his lecture, Sailstorfer, who has been represented in the Cologne Sculpture Park since 2015, will give an overview of the various aspects of his work.

    Please note that the event will be filmed.

    With kind support by:

  • Performance: Aus- & Vortragen – Timo Seber, 08.03.2017
    Timo Seber, Screenshot by the artist from Dota 2, 2017

    The performance by the artist Timo Seber, born 1984 in Cologne, follows on from his exhibition Twitch (GAK, Bremen, 2015). Since this project he has been exploring the world of the computer game DOTA 2, which is one of the world’s most popular e-sports games. At international tournaments, players can win prize money of up to 20 million dollars. Together with Baumi, a German youtuber and DOTA 2 deuhisasten with more than 110 million video views, Seber will introduce visitors to his fascination for the game and vividly demonstrate the influence on his artistic work in recent years.

    Please note that the event will be filmed.

    With kind support by:

  • Performance: Aus- & Vortragen – Nora Turato, 22.02.2017
    Nora Turato, Performance at the Bold Tendencies London 2015, Copyright Cargo Collection Ariel 2.0
    Show personality not personal items

    Nora Turato was born in 1991 in Zagreb, Croatia. She studied at the Gerrit Rietveld Academie in Amsterdam and at Werkplaats Typography in Arnhem. Nora Turato is currently a scholarship holder of the Reichsakademie in Amsterdam. In her language performances, the artist Nora Turato calls up precise observations of everyday life. Through the artistically designed speaking of a text, through the rhythm and melody of language, Nora Turato emphasizes the urgency of her socio-cultural themes, which are always related to the here and now. Her performances resemble a tour de force, powerful, provocative and to the point. Turato will be exhibiting with Your Shipment Has Been Dispatched at the NAK Neuer Aachener Kunstverein from February 11.

    In cooperation with Neuer Aachener Kunstverein.

    Please note that the peroformance will be filmed.

    With kind support by:

  • Lecture: Aus- & Vortragen – Kasper Bosmans, 15.02.2017
    Kasper Bosmans, Legend The Words and Days 2016, Courtesy the artist

    Kasper Bosmans, born 1990 in Belgium, is one of the most refreshing young positions on the Belgian art scene. He produces panel paintings, murals, sculptures and installations that often refer to historical or contemporary symbols, coats of arms and pictograms. In Bosmans’ work, the interest in the aspect of decoration – in the sense of Daniel Buren or Niele Toroni – can be traced just as much as in Flemish painting. In the course of his lecture, Kasper Bosmans will give an overview of the various strands within his work for the first time in Germany.

    With kind support by:

  • Artist Talk: Aus- & Vortragen – Jan Paul Evers, Leon Kahane, Jumana Manna & Gesine Borcherdt, 08.02.2017
    Leon Cahane, Untitled Motiv, 2017

    As part of the “Aus & Vortragen” series, journalist Gesine Borcherdt (Blau – Ein Kunstmagazin) will discuss with this year’s ars viva prizewinners Jan Paul Evers, Leon Kahane and Jumana Manna their artistic working methods and the national and international art scene.

    Jan Paul Evers: born 1982 in Cologne, studied fine arts at the Braunschweig University of Fine Arts with Dörte Eißfeldt and Thomas Rentmeister. Solo exhibitions at the Villa Stuck in Munich (2014) and the Galerie Max Mayer in Düsseldorf (2013), among others.

    Leon Kahane: born 1985 in Berlin, studied at the Ostkreuzschule für Fotografie in Berlin, among other places, and studied Free Art at the Berlin University of the Arts with Hito Steyerl and Josephine Pryde. 2016 comprehensive solo exhibition at the Galerie für Zeitgenössische Kunst Leipzig, 2015 awarded the art prize Europas Zukunft.

    Jumana Manna: born 1987 in New Jersey, studied design at the Oslo National Academy of the Arts, studied aesthetics and politics at the California Institute of the Arts in Los Angeles. Solo exhibitions at Malmö Konsthall (2016), Chisenhale Gallery in London (2015), Kunsthall Oslo (2013) and Künstlerhaus Bethanien in Berlin (2013), among others.

    With kind support by:

  • Event: Aus- & Vortragen – Jan Hoeft, 25.01.2017
    Book presentation

    Jan Hoeft presents his new publication +4812 in the context of lectures and talks. Together with Kristina Scepanski (Westfälischer Kunstverein, Münster) the artist will talk about the book, football hooligans, public space and business communication.

    +4812 includes contributions by Kris Dittel, Carla Donauer, Ben Kaufmann, Alexander Nowak, Aneta Rostkowska, Sławomir Shuty and Huib Haye van der Werf. It is published by Verlag für Moderne Kunst, Vienna and was supported by the Kunststiftung NRW. Design: Lisa Pommerenke

    The work of the same name was realized by invitation of Aneta Rostkowska for the Bunkier Sztuki Art Collection in Cracow.

    With kind support by:

  • Lecture: Aus- & Vortragen – Claus Richter, 07.12.2016
    A Christmas lecture by Claus Richter, Kölnischer Kunstverein 2016
    A Christmas lecture

    A few years ago, Claus Richter spoke for the first time at the Kölnischer Kunstverein about the history of Christmas. Where does the Christmas tree come from? Who invented Santa Claus? When was Christmas first celebrated? All these questions were answered then. This year Claus Richter returns with a new Christmas lecture. In his first lecture he dealt with the historical classification of the phenomenon “Christmas”. This year the Cologne artist will deal with the emotions that the ideal Christmas as a narrative awakens. Archaic longings for security, love, affection, peace and an idealized magical world are the elements from which Richter’s own obsession with Christmas is nourished. This year, he will once again use pictures, films and stories to make his way through snow-covered huts, glittering forests and cosy parlours to find out why and how the “festival of love” works so well as an ideal image.

    Please note that the event will be recorded.

    Supported by:

  • Artist Talk, Lecture: Aus- & Vortragen – John Tilbury, 23.11.2016
    The John Tilbury Tribute

    Lecture: John Tilbury reads parts from Cornelius Cardew: A Life Unfinished
    Talk: John Tilbury and Felix Klopotek

    An important element of the tribute to Tilbury is the lecture from Cornelius Cardew (1936-1981) a life unfinished followed by a discussion about the connection between music and politics and an assessment of current social developments by John Tilbury at the Kölnischer Kunstverein.

    The event will be moderated by the Cologne author Felix Klopotek.

    John Tilbury is friends with post-war modern composers such as Christian Wolff, Earle Brown and Terry Riley. He also had a friendship with Cornelius Cardew, which began in 1959 and continued with groundbreaking group projects such as AMM and the Scratch Orchestra, as well as political actions. With his biography Cornelius Cardew – A Life Unfinished, John Tilbury has presented one of the great and extraordinarily detailed works on New Music from the middle of the 20th century onwards.

    The John Tilbury Tribute is organized by Prof. Dr. Heike Sperling and Marcus Schmickler.

    Please note that the event will be filmed. Watch the recording of the event here.

    With kind support by:

  • Event: Aus- & Vortragen – Anne Speier, 02.11.2016
  • Special Event: Night of Museums at the Kölnischer Kunstverein, 29.10.2016

    Saturday, 29.10.2016, 19-2.59 Uhr

    Exhibition: Christiana Soulou – Sonnet to the Nile

  • Lecture: Aus- & Vortragen – Sven Johne, 12.10.2016
    Sven Johne, The Long Way Home, 2016, VG Bild Kunst Bonn, 2016, Courtesy: Klemm´s

    Sven Johne (*1976, lives and works in Berlin) uses his works to investigate both familiar and unusual situations of everyday life: the hijacking and kidnapping of container ships, the functioning of ports or the journey of a travelling circus through Germany. Johne uses texts, photographs or films to present the results of his research. During his lecture, the artist will give an introduction to his work and present a selection of his video works.

    With kind support by:

  • Lecture: Aus- & Vortragen – Peter Wächtler, 28.09.2016

    Peter Wächtler’s films, drawings and sculptures refer to surreal visual worlds that oscillate between tragedy and absurd comedy. Many of his works refer to the aesthetics of comics or children’s book illustrations, whereby the familiarity or catchiness of the image creations is undermined, for example, by the integration of bizarre text passages. The results are haunting formulations that shake the viewer up like a (nightmare) dream. The lecture at the Kölnischer Kunstverein is conceived as a fundamental introduction to the artist’s work.

    Peter Wächtler (*1979 in Hannover, lives and works in Brussels) had, among others, solo exhibitions at the Chisenhale Gallery in London (2016), the Renaissance Society in Chicago (2016) and the Westfälischer Kunstverein in Münster (2014).

    Watch the recording of the event here.

    With kind support by:

  • Artist Talk: Aus- & Vortragen – Johannes Wohnseifer and Susanne Zander, 07.09.2016

    Johannes Wohnseifer (artist) and Susanne Zander (Delmes & Zander) talk about production, reception, curating and historical contextualization of border areas of art.

    Watch the recording of the talk here.

    With kind support by:

  • Special Event: Open studios, 2. – 4.9.2016
    Alwin Lay, Frisch ausgepackt, 2016, Ankündigungsmotiv Offene Ateliers im Kölnischen Kunstverein 2016
    Albrecht Fuchs, Henning Fehr & Philipp Rühr, Selma Gültoprak, Erika Hock, Jan Hoeft, Stefanie Klingemann, Alwin Lay, Peter Miller, Ralph Schuster

    Opening Hours
    Friday, 2.9.2016, 7-9 pm
    Saturday, 3.9.2016, 12-6 pm
    Sunday, 4.9.2016, 12-6 pm

    More information about the studio program on

  • Lecture: Aus- & Vortragen – Anna Virnich, 01.06.2016


    Anna Virnich became known for her large and small fabric pictures, for which she combines different textiles to form compositions that oscillate between abstraction and narration. With skillful sovereignty she follows the traditions of artists such as Blinky Palermo, Rosemarie Trockel or Cosima von Bonin. However, the work of the artist, who was born in 1984 in Berlin, is not limited to the genre of painting. For some years now, she has also been producing installations for which she uses organic materials such as leather, earth or plants and which appeal to our senses in various ways.

    In her lecture, Virnich will present the central strands of her practice, highlighting in particular her two most recent projects in Cologne (2015) and Mexico City (2016).

    Please note that the event will be filmed. Watch the recording here.

    With kind support by:

  • Lecture: Aus- & Vortragen – Anders Clausen, 25.05.2016
    Anders Clausen, Ibrahim Öztas, 2016

    (in English)

    Innovations in all areas of modern life are becoming increasingly rapid. However, these innovations do not always turn out to be mere extensions of personal freedom or unconditional improvements of everyday life. In his work, artist Anders Clausen (*1978 in Copenhagen, lives and works in Berlin) examines the other, often overlooked side of technological achievements, as shown, for example, in the dependence on contemporary communication media. In the course of his lecture, Clausen will give an insight into his practice, focusing in particular on his latest project, which is an artist’s book.

    Please note that the performance will be filmed.

  • Special Event: Kölner Museumsfest, 22.05.2016
    Guided Tours through the exhibition of Anro Wekua

  • Screening: Aus- & Vortragen – Lothar Hempel, 04.05.2016
    Lothar Hempel, Mäusebunker, Filmstill

    The film Mäusebunker by Lothar Hempel is about the research centre for experimental medicine in Berlin, which is housed in a building erected between 1970 and 1981, whose architecture is committed to the uncompromising style of Brutalism. This building, which visually resembles the appearance of a battleship and which, among other things, is home to the central experimental animal breeding and husbandry of the capital’s university medicine, is the scene of different, sometimes contradictory episodes. For example, the film shows the transformation of a female scientist into a saint, while in other scenes post-modern furniture from Italy is the subject or yellow bananas appear before grey concrete. All in all, the work has the character of a surrealist collage, although it is by no means static due to the artist’s continuous treatment.

    Lothar Hempel (*1966 in Cologne) has shown his works at Le Magazin in Grenoble, the Institute of Contemporary Arts in London and the Museum of Contemporary Arts in Los Angeles, among others.

    Duration: 56 minutes

    Watch the trailer here.

  • Performance: Aus- & Vortragen – Tobias Spichtig, 27.04.2016
    Tobias Spichtig, Die böse Farbe, Filmstill
    Die böse Farbe für den Kölnischen Kunstverein
  • Guided Tour: Curatorial tour through the current exhibition of Uri Aran with Moritz Wesseler, 20.04.2016

  • Event: Cannibal, 16.04.2016
    Cameron Jamie, Cannibal
    Concert of the band Cannibal

    Cannibal, a band featuring Cary Loren, Dennis Tyfus and Cameron Jamie, brings together three singular artist biographies, each with distinctive musical references.

    Cary Loren belonged to the cluster of young artists – which also included Mike Kelley, Jim Shaw and Nigara (Lynn Rovner) – who founded the art-school band Destroy All Monsters at the University of Michigan in 1973. In his Manifesto of Ignorance: Destroy all Monsters, he writes that the aim of Destroy All Monsters was to serve up a “menagerie of words, images and sounds” in order to counter the primal masculine US rock scene of the 1970s with a different gesture. It was an approach that was open to doubt and desires, and one in which the participants did not always know (if they ever did) where it would lead. They saw themselves as continuing in the tradition of free jazz, rock and avant-garde spirits such as Sun Ra, Captain Beefheart and the Silver Apples, but without negating the rock music of the Stooges or MC5 (later members of the band included Ron Asheton of the Stooges and Michael Davis from MC5). The shows were reminiscent of the Grand Guignol theatre and were short, bloody, anarchic-apocalyptic outbursts in which anything was possible.

    Dennis Tyfus, whose real name is Dennis Faes, runs the Ultra Eczema Studio in Antwerp. As a child of the 1980s, he represents a type of artist open to a wide range of approaches. For Tyfus, it is natural to combine work as an illustrator, promoter, visual artist, radio journalist and musician – and he does the latter under a myriad of solo aliases (Bitchy Vallens, Herr Keula, Penis Tea Flush, Vom Grill) and with three bands (Cannibal, Call Gypsi and Speedqueen). Each domain is inconceivable without the others; his artistic practice is an interconnected, web-like structure in which everything holds meaning for everything else.

    Cameron Jamie was born in Los Angeles at the end of the 1960s and permanently lives in Paris. He represents the link between generations in Cannibal. His multi-disciplinary practice encompasses performance, sound, drawings, sculpture, photography, artist books and films. In his film work, Cameron Jamie investigates to what extent geographical and traditional conditions shape people’s everyday lives. He questions the diversion projection mechanisms of societies and their members, and the shadows they cast. His film documentaries are sparse, unequivocal insights into a world of desire that is searching for meaning. To this end, he works intensively with music as a stylistic element and has collaborated with the American rock band The Melvins and the Japanese free-noise musician Keiji Haino.

    To date, Cannibal have only released one album, the self-titled Cannibal (whose album was designed by Cameron Jamie). However, the referential cosmos opened up by the three protagonists with their record is impressive proof that Cannibal can be regarded as belonging to the lineage of Red Krayola, an avant-garde rock collective founded by Mayo Thompson in the mid-1960s, and Loren’s band Destroy All Monsters.
    The tracks were recorded by Loren, Tyfus and Jamie in Antwerp in 2010 and, in utter laid-backedness, not mixed by Warn Defever and Cary Loren in Detroit until three years later. Over the course of the fifteen songs (some of which bear the characteristics of sketches and interludes), there develops a seemingly chaotic swirl of emotions. However, the compelling narrative of the chaos ceases when we put our fear of disorientation to one side. Inspired by the (anti-)aesthetics of white trash and horror, the three celebrate a wild ecstatic outburst between free improvisation and accentuated rhythmic significance.

    What Cannibal unleash upon us is both a repelling and, in a peculiar way, tenaciously compelling mixture at one and the same time. This is symbolically encapsulated in their song Sweet Dreams, in which, from the diabolic and sombre white noise, manically recited vocal fragments can suddenly be heard, whose individual, word-like formations come together little by little in our pop-culturally educated heads as fragments of Sweet Dreams (Are Made of This) by the 1980s British pop group Eurythmics:

    “Who am I to disagree … I travel the world and the seven seas … Everybody’s looking for something … Sweet dreams …”

    Transmission interruptions.
    Potholes of existence.
    Completely normal madness.

    The band name – referencing cannibalism – certainly plays with primitive humanity’s fear of the dark depths inside itself. Linked to the notion of being eaten by our own kind is the question of what could drive us to eat a fellow human. When Cannibal name one of their songs Phantasm, it is not to make it easy for us by deconstructing everything as pure fantasy, an illusion and a product of our imaginations. It is a way of pushing the internal, vertiginous swirl one level further around themselves.

    Horror creeps up in Phantasm (and in many other songs by Cannibal) like it does in Japanese horror films: not as a quiet foreboding of evil as is the case in European cinema, but with the full force of omnipresent and inescapable terror. At two minutes, the length of the song is programmatic: in this piece, there is no place and no time for false flights of hope. Why indulge in illusions when we’re all painfully aware of the tick-tock of life in its brutal finiteness. And so the initiates squeal, and beat, and scream – and in the end, the scream slowly devours itself, just the way one individual has always broken the next in best Fassbinder fashion.

    With this in mind: everything can be heard, nothing is certain. Cannibal play with their cards on the table and fully aware that nothing on earth can offer an abyss bleaker than human existence.

    We can look forward to seeing how Cannibal showcase all this and much more at the Kölnischer Kunstverein. Cannibal is managed by John Sinclair, the former manager of MC5.

    Watch the band playing here.

    Doors 8pm, Start 8.30pm, Advance sales from 6pm.

    With kind support by Julia Stoschek Collection.

  • Artist Talk, Screening: Aus- & Vortragen – Alex Wissel & Jan Bonny, 30.03.2016
    Rhineland premier of the movie Single

    The film Single by Alex Wissel and Jan Bonny tells of identity issues as well as personal and universal loneliness in several nested levels of reflection:

    The young artist Alex is left by his girlfriend and seeks new affirmation in the opening of a nightclub, the so-called Single Club.

    This establishment existed from June 2011 to June 2012 and was located in the basement of the Bistro Agi restaurant not far from Düsseldorf’s main train station. The club was conceived by Wissel as an alternative model of public space and participatory “social sculpture”. (

    The film, which consists of real documentary material from the club, re-enactments and a fictional story, includes guest appearances by Lars Eidinger, Rita McBride, Peter Doig, Agipet Iljazi, Hans-Jürgen Hafner, Magdalena Kita and Sibel Kekilli, among others.

    Afterwards: Hans-Jürgen Hafner (Direktor, Kunstverein für die Rheinlande und Westfalen) in conversation with the artists.

    Watch the recording of the talk here.

    Aus- & Vortragen is supported by:

  • Lecture, Performance: Aus- & Vortragen – Kalin Lindena, 16.03.2016


    The artist Kalin Lindena was born in 1977 in Hanover and studied with Prof. Johannes Brus and Prof. Walter Dahn at the Hochschule für Bildende Künste in Braunschweig and now lives in Berlin. Her presentations mostly have the character of stage-like stagings that infiltrate conventional exhibition modes. Thus Lindena combines textiles, objects made of paper, figurative metal constructions and cinematic works to create complex installations that take up the idea of a Gesamtkunstwerk and often become the setting for performative works. In this respect, her work is associated with a special form of dynamism that touches the viewer directly and captivates him or her. For the event at the Kölnischer Kunstverein, Kalin Lindena is planning a performative lecture under the title World Premiere, which will give an impression of the diversity of her work.

    Please note that the performance will be filmed.

    Watch the recording of the event here.

    Aus- & Vortragen is supported by:

  • Guided Tour: Curatorial tour through the exhibition of Uri Aran with Patrick C. Haas, 09.03.2016
  • Workshop: Workshop for children in the current exhibition of Uri Aran, 28.02.2016

    Workshop in der aktuellen Ausstellung von Uri Aran Mice

  • Performance: Aus- & Vortragen – Alvaro Urbano, 28.02.2016

    Dead Men Tell No Tales

    Alvaro Urbano’s (*1983 in Madrid, lives in Berlin) works show a strong reference to architecture and fiction. In doing so, he makes use of the medium that suits him best, which can range from room-sized installations to film and performance. The performance Dead Men Tell No Tales (2016), premiered at the Kölnischer Kunstverein, is also in this context. In three acts, which are performed repeatedly and simultaneously, the artist analyses the relationship between artists’ biographies, iconic artworks and modes of presentation in exhibitions. An important moment is the perception of the objects: Surviving large pedestals, moving melancholy through the space – empty and without content. A carpet on which a child plays, but not with toys, but with replicas of famous art and cultural objects. A person dressed in black who buries an object in the garden of the Kunstverein with the help of a shovel.

    Watch the recording of the performance here.

    Aus- & Vortragen is supported by:

  • Artist Talk: Uri Aran, 10.02.2016

  • Lecture: Kasia Fudakowski, 10.12.2014
    Kasia Fudakowski, Local artist video still, 2014

    Kasia Fudakowski (*1985 in London, lives and works in Berlin) is a sculptor whose installations are often associated with performance. In her works, the artist makes use of the philosophy of humour, which is expressed both sculpturally and in her performative interventions. The artist repeatedly deals with different mentalities, as her recent exhibitions “Stoics”, “Enthusiasts” and “Pessimists” have shown.

  • Lecture: Sven Lütticken about Sean Snyder, 04.12.2014

  • Artist Talk: Alwin Lay, 03.12.2014

    Coming Soon

    Alwin Lay (*1984 in Romania, lives and works in Cologne) studied at the Academy of Media Arts in Cologne by Johannes Wohnseifer and Mischa Kuball and by Christopher Williams at the Düsseldorf Art Academy until 2013. His works are located at the interface of photography, film, sculpture and installation, whereby photography is usually the starting point of his works.
    At the Kölnischer Kunstverein the artist will talk about his work.

  • Lecture: David Claerbout, 26.11.2014
    David Claerbout, Oil workers (from the Shell company of Nigeria) returning home from work, caught in torrential rain, 2013, Courtesy the artist

    In David Claerbouts (*1969 in Belgium) artistic work, time has a core function in an aesthetic reflection of its entire complexity and itself becomes the most important narrative. Claerbouts’ photographic and filmic works deal with the problem of the representability of everything temporal. They explore the border between fixed and moving images, blurring past, present and future.
    In Claerbouts’ video works, the boundaries between photography and film are dissolved. Last but not least, these two media are used in such a way that they thematize their respective characterizing properties, and the minimal movement of a carefully composed situation often generates in the viewer a feeling of timelessness or an awareness of temporality.
    Not only are there echoes of film history, Claerbouts works are also closely interwoven with Gilles Deleuze’s film theory. Thus, in his video works, the viewer does not experience time as a measure of movement, but rather movement as the framework of time.
    Claerbou’s works are characterized by a characterizing deceleration; the narrative content is de-contextualized in the atmosphere of the seemingly endless moment, thereby subtly manipulating the situation.
    Claerbout often addresses the topos of time as the situation of waiting, such as in the work ‘Oil Workers (of the Shell company of Nigeria) returning home from work, caught in torrential rain’ from 2013. This video work shows more than 40 men who, surprised by a heavy rain shower, have found shelter under a bridge and are now waiting for the rain to end, looking seemingly motionlessly towards the viewer. The constant and yet calm rotation of the camera over a classical pictorial composition manifests this temporally stretched moment of waiting.

    At the Kölnischer Kunstverein, David Claerbout talks about current and upcoming projects.

  • Lecture: Juliette Blightman, with contributions of Pablo Larios, Pippin Wigglesworth-Weider, Skye Chamberlain, 12.11.2014
    Juliette Blightman, ‘easyjet’, 2014

    in English

    “Another plane flies over more organisms being moved somewhere. From the doorway I see the grey sky the threat of rain and the neighbours washing line not even a minute passes without another plane passing over I look forward to being in one tomorrow I am unsure the ribbon is passing through the typewriter ok and again I have doubts. I think of the summer I think of each plane ride I have taken, overnight trains, car journeys, each city, country – I listen to a conversation – it puts you off your confidence, then they move away.”

    Juliette Blightman

  • Lecture: Dr. Dieter Schwarz (Director of the Kunstmuseum Winterthur) – presentation of the Vereinsgabe 2014 made by Lawrence Weiner, 29.10.2014

  • Lecture: Maria Loboda, 22.10.2014
    Maria Loboda, A Man of his word (Dharmachakra Mudra), 2014, courtesy the artist Andrew Kreps, New York City, Maisterravalbuena, Madrid, Schleicher/Lange, Berlin

    Maria Loboda (b.1979 in Poland) tracks down what is hidden – and sometimes uncanny – and she deciphers or hints at it in her sculptures, collages and installations, where it often remains in a state of mystery. These works’ charging with magic and occultism and the representation of these often provides a source utilised by Loboda to create her art.

    Loboda produces an archaeology of the symbolic, in which the unconscious – human beings’ links to nature and long-forgotten systems, signs and symbols – undergoes a reorganisation.

    In her work for documenta 13, This Work is Dedicated to an Emperor, 20 cypresses became mysterious performers who altered their military formation each day, in an almost inexplicable manner, and assumed new formations and emblematic constellations. This work took up principles articulated by Vegetius in his 4th-century treatise De Re Militari. Strategies of exercising power and of forgotten knowledge were transposed into an almost Baroque choreography in Kassel’s Auepark.

    The Sublime, which was distinguished during the Romantic period, seems to be echoed in Loboda’s contemporary enquiries. The possibility of relativising laws of regularity becomes tangible; knowledge and superstition, system and chaos meet once more in an idiom of the object, whose forms grow out of nature or the things of our precisely structured and organised daily life.

    At the Kölnischer Kunstverein, Maria Loboda will speak about her artistic practice as well as recent and upcoming projects.

    Born in Krakow, Poland, 1979
    Lives in New York, USA


    Interdiciplinary Fine Art Studies, Hochschule für Bildende Künste, Städelschule,
    Frankfurt, Class Mark Leckey, 2003-2008
    Visiting Artist and Scholar, New York University, Steinhardt School of Culture,
    Education and Human Developement, Class Carol Bove, 2007-2008

    Exhibitions (solo):

    SCHLEICHER/LANGE, Berlin, Germany
    Dead Guardian, Haus Salve Hospes, Kunstverein Braunschweig, Braunschweig, Germany

    Chalcedony into Onyx, curated by Anna Gritz, one evening event at South London
    Gallery, London, UK
    Las Fieras – The Beasts, Museo Reina Sofia, Madrid, Spain
    Frieze Projects, curated by Cecilia Alemani, Randalls Island, New York, USA
    General Electric, Andrew Kreps Gallery, New York, USA

    The Tempest, Ludlow 38, New York, USA
    The Messenger (Be aware of the one who appears not to be moving),
    SCHLEICHER/LANGE, Paris, France

    Peril, Maisterravalbuena, Madrid, Spain
    Dynamite Winter Palace, SCHLEICHER/LANGE, Paris, France

    In the Autumn the Electricity withdraws into the Earth again and rests, KROME
    Gallery, Berlin, Germany
    New Thoughts, Old Forms, Bielefelder Kunstverein, Bielefeld, Germany

    Conversational Style, SCHLEICHER/LANGE, Paris, France

    Moderne Ehe, Ritter & Staiff, Frankfurt am Main, Germany

  • Lecture: Jason Dodge, 08.10.2014

    The artist Jason Dodge (*1969 in Newton, PA) lives and works in Berlin

    Exhibitions (selection): Lentos Kunstmuseum Linz (2013); 55th Venice Biennale, Lithuanian Pavilion, curated by Raimundas Malasauskas, Venice, Italy (2013); Kunstverein Nürnberg, Nürnberg, Germany (2012), Project Space, Kunstverein Düsseldorf, Germany (2009); Casey Kaplan, New York; Lüttkenmeyer, Berlin; Yvon Lambert, Paris, and many more.

  • Special Event: Summer Event, 30.08.2014

    175 Years Kölnischer Kunstverein

    Anniversary and summer event on 30 August 2014 from 12 to 18 p.m.!

    The Kölnischer Kunstverein is celebrating its 175th anniversary this year with various events.


    12:00 “Hut in the Mud” by Andreas Fischer
    Opening of the event with presentation of the project

    12:00 – 14:00 Workshop for children
    Children create their own small works of art as part of the exhibition
    by Andra Ursuta / 7 – 9 years, registration:

    12:30 – 14:00 guided tour of the exhibition “Claus Richter”
    Guided tour through the art parcour designed by Claus Richter
    to the 175th anniversary

    13:00 Guided tour of the exhibition “Andra Ursuta”
    Guided tour through the current exhibition with Carla Donauer

    13:30 Greeting
    Speeker: Jürgen Roters, Mayor of Cologne,
    Dr. Thomas Waldschmidt, Chairman of the Board of the Kölnischer Kunstverein,
    Moritz Wesseler, Director Kölnischer Kunstverein
    14:30 – 16:00 Guided tour of the exhibition “Claus Richter”

    14:30 Architectural tour of “Die Brücke” with Volker Spies
    (Architect AKNW, metropolis planen + beraten)
    Former and current use and history of the building

    15:00 Lecture by Susanne Titz
    The director of the Museum Abteiberg in Mönchengladbach and
    former director of the Neuer Aachener Kunstverein talk about
    the history and significance of the Kunstvereine in Germany

    15:00 – 17:00 Workshop for children
    Children create their own small works of art as part of the exhibition
    by Andra Ursuta / 9 – 12 years, registration:

    16:00 Introduction to the exhibition “Uri Aran”
    About the filmic works Unitled (2006) / Mud (2010) /
    Uncle in Jail (2012) by the artist Uri Aran with Carla Donauer

    16:30 Architectural tour of the Fritz Thyssen Foundation with Peter Sparla
    (LILL + SPARLA landscape architects/engineers)
    Open House in the neighbouring building

    16:30 Exhibition tour “Andra Ursuta”
    Guided tour through the current exhibition with Moritz Wesseler

    17:00 “The Cologne Years”
    Udo Kittelmann, Director of the Nationalgalerie Berlin, in conversation with
    Holger Liebs, chief editor of the magazine Monopol, about the 1990s
    years at the Kölnischer Kunstverein

    18:00 Drawing of the raffle with large and small works of art

    12:00 – 18:00
    Open studios – The scholarship holders open their rooms in the Hahnenstraße
    Lottery ticket sale

    Guided tours through the Fritz Thyssen Stiftung with the architects
    Professor Cheret and Mrs Bozic (cheret bozic architects)

  • Lecture: Andreas Fischer, 11.06.2014

    Ghost in the machine

    The Kölnischer Kunstverein is pleased to welcome the Düsseldorf artist Andreas Fischer in the context of the event series Aus-& Vortragen.

    In his sculptural work Andreas Fischer creates wonderfully bizarre machines from simple materials and used everyday objects. Inspired by motors and spoken texts, the slumbering machines only come to life when the viewer turns to them. The exchange between man and machine also raises questions about their mutual relationship. For through their anti-functional choreographies, the machines elude human appropriation and no longer exist only as functional objects. In their imperfection and fragility they ultimately also refer to Andreas Fischer’s fundamental interest in time and finiteness.

    The artist’s lecture will take place on June 11, 2014 at 7 pm in the Kölnischer Kunstverein.


    Born 1972 in Munich
    Lives and works in Düsseldorf


    2003 master student of Prof. Georg Herold, Academy of Arts Düsseldorf


    2013 Head of the Clock, Gallery Johann König, Berlin
    Oven about us, Heidelberger Kunstverein, Heidelberg
    2012 machines. Your Time Is My Rolex, Museum Ludwig, Cologne
    2011 Contract with America, Gallery Vera Gliem, Cologne
    2009 OFEN AUS, Bonner Kunstverein, Bonn
    2007 New Talent Support Bunk, Art Cologne, Cologne


    2013 The Kunstverein since 1817, Hamburger Kunstverein, Hamburg
    2012 Atelier+Kitchen=Laboratories of the Senses, Marta Herford, Herford
    2010 Lappenloch wall installation, Museum Ludwig, Cologne
    2007 Hotel Kerberos, KIT – Art in the Tunnel, Düsseldorf
    2005 Ars Electronica, Linz, Austria


    2014 boesner art award
    2012 Project scholarship of the Kunststiftung NRW
    2010 Scholarship from Ringenberg Castle
    2008 Award for Visual Arts of the City of Düsseldorf

  • Artist Talk: Paul Czerlitzki, 28.05.2014

    Paul Czerlitzki (*1986 in Danzig, lives and works in Düsseldorf) is realizing a work on the occasion of his participation in the event series Aus- & Vortragen on the upper floor of the Kölnischer Kunstverein, which will be presented on 28 May in the context of an artist talk.

  • Workshop: Museumsday 2014, Workshop for children in the exhibition Nathalie Djurberg & Hans Berg, Maybe This is a Dream with Katharina Jahnke, 18.05.2014

  • Event: Johannes Wohnseifer, 7. – 22.5.2014

    Posters 1994 – 2014

    Wednesday, 7 May / 7pm: Book presentation: Johannes Wohnseifer, Posters 1994–2014 (StrzeleckiBooks)

    A presentation of selected posters can be seen from 7 May – 14 May 2014.
    Kölnischer Kunstverein, Hahnenstrasse 6, 50667 Cologne,

    About the book project:

    The value of ephemera. For 20 years, Johannes Wohnseifer has been designing the posters for his exhibitions. Unless someone is categorised as a ‘poster artist’ within the field of so-called ‘applied art’, then these printed works quite often appear only all the way at the back of a catalogue raisonné, devalued by way of drastically reduced reproductions. But what if the artist sees the matter quite differently? Around 80 posters, which Johannes Wohnseifer created between 1994 and 2014 for exhibitions of his work, have been gathered together here. The artist has reworked some of them, but always in the spirit of their former use.

    This large-scale project is thus nothing less than a retrospective in the form of a book of posters. In this way the project removes the works from the no-man’s-land between utilitarian announcement and autonomous work. The book – in DIN A3 format, in keeping with the posters – functions both as a complete catalogue and as an artist’s book. It presents what are ostensibly utilitarian objects as autonomous artworks. Here an entire group of works that is always in danger of being passed over reveals itself as a treasure trove.


  • Artist Talk: David Ostrowski interviews Cornelius Tittel, 23.04.2014

  • Performance: Keren Cytter`s Show Real Drama, 11.04.2014

  • Special Event: in context of the lit.COLOGNE: 500places, Lecture with Dorothea Lasky and Jason Dodge, 21.03.2014

  • Special Event: Mark Soo (in English), 12.03.2014

  • Event: Kristina Buch, 26.02.2014

    untitled (holes)

    For this concert Iko Birk plays an interpretation of a fragmented score that Buch handed to him four years ago. The set of 120 music sheets was produced by Buch’s grandfather, who stopped speaking for good at the age of seventeen. The notation of the score is unusual in the sense that only few notes are present. The main part of the notation across the staves is made up by small colourful drawings that are interspersed with words. Twenty-five of the present sheets are heavily worn and only bear holes in the paper accross faded lines. On these  sheets the author appears to have painstakingly erased all notation. The sheets are only partially numbered and a beginning and an end of the score are not clearly defined.

    The concert will be played once only. No recording will be made.

    Wednesday, 26.2 / 7 pm: Kristina Buch / Untitled (holes) / Iko Birk plays a one-off concert / limited tickets must be prebooked via email / / 12 €


  • Special Event: Lumpenball, 21.02.2014

  • Screening: Haris Epaminonda, 12.02.2014

  • Event: Michaela Meise, 29.06.2012
    Michaela Meise, Preis dem Todesüberwinder, 2011, Photo: Oliver Husain

    Preis dem Todesüberwinder

    from 8 pm

    In 2011 Michaela Meise published her album Preis dem Todesüberwinder (Clouds Hill, Hamburg) which assembles seven ecclesiastical anthems composed between the 16th and 19th centuries performed by Meise. The artist accompanies herself on the accordion. The producer Thies Mynther ensured a simple recording without special effects. The eponymous song – Preis dem Todesüberwinder – was recorded together with the musician Dirk von Lowtzow.

    Michaela Meise (*1976) is primarily a visual artist. Despite previous music and album projects such as Songs of Nico, published in 2005 together with Sergej Jensen, or her vocal contribution to Phantom Ghost, Meise sees music as her hobby. Attentive friends of her work will discover many connections between her musical projects and her artistic practice.

    DJs Michael Bollhöfer (Basspräsidium Records) and
    Roman Jungblut (80km vor Baghdad)

    On the same night:
    Opening of the exhibition
    Bernd Krauß: Das ist heute möglich
    at 7 pm

  • Event: Michaela Melián, 18.04.2012
    Michaela Melián © Monika-Enterprise


    at 20 pm

    The concert by artist and musician Michaela Melián at Kölnischer Kunstverein is the first after a number of years during which she refrained from public solo performances.
    Michaela Melián is a founding member of the group “F.S.K.” (1980). She has won numerous prizes for audio drama. Her audiovisual installations are often based on intensive historical and contemporary research. Songs from her solo albums “Baden-Baden” (2004), “Föhrenwald“ (2006) and “Los Angeles“ (2007) are closely related to the development of many of her art installations.

    Afterwards the party continues with DJ Tolouse Low Trax: (Kreidler/Salon des Amateurs/Karaoke Kalk).

  • Screening: Screening Room: Dublin II, 29.11.2011

  • Screening: Screening Room: Dublin I, 15.11.2011

  • Artist Talk: Omer Fast, 22.10.2011

  • Artist Talk: Anastasia Marukhina and Heike Ander (GLASMOOG) in conversation with Dmitry Vilensky and Olga Egorova/Tsaplya, 27.08.2011

    In context of the exhibition Chto Delat?

  • Event: Stephen Prina and the Ensemble Garage, 29.06.2011

    Concerto for Modern, Movie, and Pop Music for Ten Instruments and Voice

    8 p.m

    European premiere, world premiere in a revised version, 2011
    A cooperation project by ON – Neue Musik Köln and the Kölnischer Kunstverein, Stephen Prina and the Ensemble Garage will present the Concerto for Modern, Movie and Pop Music for Ten Instruments and Voice by Stephen Prina in the theatre hall at the Kölnischer Kunstverein.

    Beside his artistic career Prina received a musical education and has since the 1990s been a member of the experimental pop music band “The Red Krayola”. The Concert for Ten Instruments and Voice which premiered in 2010 in St. Louis is based on the Concerto OP24 by Anton Webern but interjects the individual movements of the concerto with pop songs and compositions by Stephen Prina. Prina himself will sing and play the guitar. Akin to his other artistic works Prina bases the concert on a key composition of modernity and shows its influence on pop music.

    Composed of students and graduates of the Hochschule für Musik und Tanz Köln the Ensemble Garage was founded by Brigitta Muntendorf and Rodrigo López Klingenfuss in 2009. The Ensemble focuses on cooperations with solo artists as well as on performances of their own compositions and works by other young composers. Projects have included performances for ON – Neue Musik Köln, KGNM, Landesmusikrat NRW, Kölner Musiknacht and many more.

  • Event: Open Studio Day at the Kölnischer Kunstverein, 18.06.2011

  • Lecture, Performance: Weltfluchten by Claus Richter, 18.05.2011

  • Screening: Chris Kraus, 10.05.2011
    Lucie Stahl, Dick, 2010

    Gravity & Grace

    Screening in the cinema of die Brücke
    8 pm

    The film tells the story of the artist Gravity who earns an additional income for herself as a prostitute in New Zealand and later on joins an occult-scientific group. Eventually she moves to New York to try and make her (mis-)fortune in the art world.

    The American author and filmmaker Chris Kraus has had a determining influence on the New York video and film scene of the mid-80s and will contribute an essay to Lucie Stahl’s artist’s book. Since 1990 she supports and publishes books by long neglected female authors like Kathy Acker and Eileen Myles with the Semiotext(e) publisher. In her own written work she deals with such wide ranging topics such as feminism and gender-politics, prostitution and philosophy.

  • Workshop: Carte Blanche für Stephen Prina, 30.4. – 31.5.2011

    Two workshops with Stephen Prina on his work (in English)
    Institute for New Music at the Cologne University of Music and Dance
    Mon. 30.05.2011 (full day) and Tues. 31.05.2011 (morning),
    Start at 10 am

    The internationally renowned conceptual artist and musician Stephen Prina is offering a public workshop as part of a cooperation between the Kölnischer Kunstverein and the Hochschule für Musik und Tanz. In his artistic work, Stephen Prina makes use of a differentiated aesthetic system of reference in the fields of new and pop music, painting and architectural history. He also works as a composer and was a long-time member of the avant-garde rock band The Red Krayola.
    In the seminar, Prina will present his working methods and in particular his two films Vinyl II and The Way He Always Wanted It II, talk about composition strategies and make his interdisciplinary approach the subject of discussion. Part of his seminar will be the preparation of a music performance with students of the Musikhochschule für Musik und Tanz Köln, which will be shown within his solo exhibition He was but a bad translation.

    Monday, 30.05.2011
    10 am Start of the seminar, University of Music and Dance Cologne, Room 315
    12 noon lunch break and transfer
    13 pm Kölnischer Kunstverein, cinema
    Stephen Prina presents his films Vinyl II, 2000 and The Way He Always Wanted It II, 2009.
    afterwards: discussion

    Tuesday 31.05.2011
    10 am. beginning of the seminar, Hochschule für Musik und Tanz Cologne, Room 315
    Prina talks about possibilities of composing
    11.30 a.m. coffee break
    12 – 2 pm Meeting with participants of the performance The Way He Always Wanted It VIII, 2011

    Hochschule für Musik und Tanz Köln
    Institut für Neue Musik, Raum 315
    Unter Krahnenbäumen 87
    50668 Köln

  • Lecture: Mark von Schlegell, High Witchita, 16.03.2011

  • Screening: Dan Graham, 04.12.2009
    Dan Graham, Performer/Audience/Mirror, 1977. Filmstill. Netherlands Media Art Institute. Collection de Appel, Amsterdam

    Performer/Audience/Mirror, 1977

    8 pm

    Dan Graham (born 1942) is an influential figure in the field of contemporary art, both a practitioner and an art critic and theorist. Graham especially focuses on the relationship between artwork and viewer in his pieces. In his early performance Performer/Audience/Mirror Graham examines not only his own movements and makes the public participate in it, he also transforms the audience into actors and reproaches the mirror to the people so that they start to observe the artist and themselves. Kölnischer Kunstverein shows the documentation of the performance at De Appel Institute, Amsterdam in 1977.

  • Performance: Tris Vonna-Michell, 03.12.2009
    Tris Vonna-Michell, Finding Chopin, 2008. Performance Still from the work Finding Chopin, 2005-08. Foto Nick Ash. Art 39 Basel, Art Statements, 2008.


    8 – 9 pm

    Tris Vonna-Michell’s (born 1982) speech performances refer to historical events and persons, personal biographies or visited cities. He develops an intriguing immediacy through his fast and poetic monologues and includes slides, objects and texts in his performances as demonstrative tools of the stories, which he presents to the visitor mostly one-on-one. He lately started to work in installations. His slide installations for example are complemented by the underlying voice of the artist commenting and fuelling the shown images. Tris Vonna-Michell won the ars viva prize in 2008/09 and has participated in numerous exhibitions such as Koeln Show2, European Kunsthalle, Cologne (2007), Performa 07, New York, Yokohama Triennial (2008), 5th berlin biennial (2008) and Tate Triennial, London (2009). He has had solo exhibitions at among others Schnittraum, Cologne (2006), Kunstverein Braunschweig, Witte de With, Rotterdam (2007) and Kunsthalle Zürich (2008/09).

  • Lecture, Performance: Michael Lentz and Uli Winters, 23.11.2009
    Michael Lentz and Uli Winters, Cotard, 2009

    Lentz und Winters merken was

    8 pm

    One can nevertheless not always only read! A doctor becomes a worm through the word. Schiller´s The bell overhauls the reader. Rilke has the right to sound differently. Ballet goes without music, and brass-band music goes without trumpet. With this Lentz/Winter revue one never knows, what will happen next and especially not, what happened just a minute ago. A lot is at stake – Lentz and Winter fight for each point. Therefore the listener recognizes something again, which he did never see before.

    Michael Lentz (born 1964) works as an author, musician, and performer. Since 2004 he has been president of the FreeAcademy of the Arts in Leipzig. Lentz has received numerous awards, among others the Ingeborg-Bachmann Prize (2001), the Hans-Erik-Nossak Sponsorship Award of the BDI (Federation of German Industries) (2002), or the Prize of the Literature Houses (2005) His latest novels are Liebeserklärung (2003) and Pazifik Exil (2007). In 2005 Michael Lentz and his colleague Uli Winters developed their literature performance and presented it on a tour through Cologne, Leipzig, Hamburg, Berlin, Munich, Salzburg, Frankfurt and Stuttgart. In these performances Michael Lentz reads while two puppets in the background, played by Uli Winters, constantly comment on what he is saying. By intervening in the lecture situation the puppets poke fun at the reading situation and of the performer himself.

  • Lecture, Performance: Achim Lengerer, 12.11.2009
    Achim Lengerer, Pictures exemplify quite nicely the Exhibition as an Event from afar, Version Cologne, 2009

    Pictures exemplify quite nicely the Exhibition as an Event from afar, Version Cologne

    8 pm

    In his live performance Achim Lengerer refers to his preceding exhibition Blows into the microphone: Is it all right? Voice off mike: It’s all right. Pause… from 2006, in which he re-enacts a lecture of the American filmmaker Hollis Frampton and his famous film Nostalgia (1971) and comments on its avant-gardistic refraction of word and image. Achim Lengerer (born 1973) works with questions of language that he either thematises in his performances or spatialises within his installations. In the last years Lengerer founded different collaborative projects: labelfuerproduktion (2005) was initiated by Lengerer as a collaborative, process-oriented art project that presented performances, exhibitions and events at institutions like Kunsthalle Exnergasse, Vienna or Kunstverein Braunschweig. He co-founded the artist-run space freitagsküche in Frankfurt a. M. in 2004 that later on moved to Berlin. The third long-term project, voiceoverhead is a collaboration with his artist colleague Dani Gal. On the basis of a huge record collection with sound documents, mainly speeches, the artists developed presentations and DJ-lectures at among others INSA Art Space, Seoul, SMART Project Space, Amsterdam and Portikus, Frankfurt am Main. Achim Lengerer has had various exhibitions and presentations at Kunstverein Braunschweig, Bonner Kunstverein, and others. Lengerer runs the travelling showroom and instant publishing house Scriptings – currently based in Amsterdam.

  • Performance: Christian Naujoks, 07.11.2009
    Christian Naujoks. Foto: Dirk Stewen

    The Great Pretending

    9 pm, Music Performance

    Christian Naujoks moved only recently from Vienna to Cologne and since August 2009 he is studio scholarship holder of Kölnischer Kunstverein. His artistic work includes performances, videos and music productions. In his music lecture he will tell us stories from „the discourse department“ of the Viennese twelve-tone musik and beyond that he will touch us with his musical “aphoprisms”, which vary strangely between an exhilarated Crooner ballad and a modernistic way of being to the point.

    The event takes place in the series Antenne Köln, supported by RheinEnergieStiftung Kultur and as part of the Lange Nacht der Museen.
    Presented by Spex

  • Lecture, Performance: Ana Vujanovic, Bojan Djordjev, Marta Popivoda and Sinisa Ilic, 04.11.2009
    TkH (Walking Theory) The last theoretical performance - Génerique, 2009

    TkH (Walking Theory), The last theoretical performance – Génerique

    8 pm

    After a long line of theoretical performances performed in an opera house, boxing ring, botanical gardens, on the internet, TV, radio, in the university amphitheatre, classroom, museum, gallery, paper and documenta 12 in Kassel, Walking Theory (TkH) shows its body for the last time. Its breasts, to be more precise.

    TkH (Walking Theory) was founded as a research theoretical-artistic group in Belgrade in 2000. Main domain of the work of the TkH Platform is to encourage the development of contemporary performing arts practices and their critical discourses through the TkH Journal for Performing Arts Theory, educational projects, an on-line platform, and artistic and theoretical projects. TkH Platform is also engaged in the cultural policy field and empowering of infrastructural and discoursive potentials of independent artistic and cultural initiatives.

  • Lecture, Performance: Fia Backström, 25.10.2009
    Fia Backström, Herd Instinct 360°, Introductory Narration United Nations Plaza, 2007

    Herd Instinct 360°

    5 pm, Lecture Performance, performed by Frances Scholz

    Fia Backström describes her lectures Herd Instinct 360° as cult action or group therapy and promises: „We will feel well“. Herd Instinct 360° is an invitation to hear, to see and speak over community. In the performance Backström performed by Frances Scholz she takes Dan Grahams historical work Performer/Audience/Mirror (1977) as a starting point and produces a kind feedback for the pictures, which groups produce. While with Graham the person in the audience is reflected as part of the mass, Backström´s performance is a kind of public speech in form of a lecture, a comment on forming and behaviour-forms of groups. Between November 2005 and January 2006 Fia Backström (born 1968) set up three Herd Instinct 360º Sunday situations at Andrew Kreps Gallery in New York. The project has travelled to numerous locations such as United Nations Plaza, Berlin, De Appel, Amsterdam and Serpentine Gallery, London. Her work has recently been shown at the Whitney Biennial, New York, White Columns, New York, ICA, London and The Kitchen, New York.

  • Screening: Chantal Akerman, 05.04.2009

    Toute une nuit, 1982

    On the occasion of the finissage of the exhibition Après Crépuscule a guided tour with the curator Oliver Tepel will take place. Afterwards the film by Chantal Akerman Toute une nuit, 1982 (OmU) will be shown.
    With the kind support of Filmclub 813.

  • Performance: Mark Leckey, 14.02.2008

    The Long Tail

    7 pm

    In May a live performance by Mark Leckey will take place on the stage of the theatre hall in the film set installation. He will give a lecture in which he will reflect his view on the history of television: meaning and decay including the role of the BBC in this context.

  • Event: Helter Skelter, 8. – 9.3.2007

    MOUVOIR / Stephanie Thiersch
    Performance / Dancing theater

    8 pm

    The Kunstverein launches its stage programme starting with the dance theatre piece Helter Skelter by the company MOUVOIR and their choreographer Stephanie Thiersch.

    In Helter Skelter Stephanie Thiersch designs a perfidious choreographed arrangement combining elements of fragmented video stills, live music, recited text and dance as a critical commentary on everyday stereotypes of traditional and contemporary female roles and images. Five physically very different female dancers try on various roles whereby socially accepted behaviour and oppressive regimes are questioned. Subdued and unpredictable aggressions explode, subtle images of violence emerge from a seemingly naive childlike attitude, alarmingly familiar and socially accepted. Helter Skelter draws a picture of an emancipatory power of self-determination, as sketched out by gender theorist Judith Butler, that is itself in constant danger to turn into new mechanisms of power and exclusion.

    Choreography/concept: Stephanie Thiersch; choreography/dance: Viviana Escalé, Alexandra Naudet, Karen Piewig, Teresa Ranieri, Agustina Sario; choreographic assistence: Alexandra Naudet; video: Martin Rottenkolber, Hirschberg/Schreiber; music/guitar: Joseph Suchy; light: Ansgar Kluge; technical director : Niko Moddenborg; stage: Stephanie Thiersch; costume: Svea Kossack; script: Andrea Heller

    Helter Skelter ist the first performance to take place in the series Antenne Köln, generously supported by Rheinenergie Stiftung Kultur. Antenne Köln introduces the work of young local artists working in different media at the Kunstverein. Stephanie Thiersch benefits from a studio grant of the Imhoff Stiftung and the Kölnischer Kunstverein.

  • Screening: Familien Bande, 8. – 11.12.2005

  • Screening: Von wegen Parallelgesellschaft!, 13.9. – 16.10.2005

  • Screening: Die Grenze (The Border) – Film Series by Thomas Arslan, 11. – 27.2.2005

    Lecture by Thomas Arslan on 10. February, 7 pm

    The film series The Border deals with besieged and disputed borders. For those who are unwelcome, crossing it represents a life-threatening risk. On the “other side” these borders are guarded with a complex military and police apparatus. This is where projections meet, which differ from one another depending on which side one is looking from. Here a fear of what is foreign, of other cultures, of being overwhelmed by their “poverty” and their “backwardness” meets the hope and the longing for a better life more in keeping with human dignity.

    The film series shows works that deal with the border and its effects in different ways. In some of the films the border or border region is the main setting; in others it is less immediately present, but still an important point of reference.

    Thomas Arslan (*1962), filmmaker and screenwriter, lives and works in Berlin.
    De l’autre côté (Chantal Akerman) B/F 2002, 103 min, original version with Engl. subtitles
    The film about the Mexican-US American border begins on the Mexican side and describes the hopes and desperation of those hoping to immigrate to the USA. The locations that Chantal Ackermann shows in tranquil pans and tracks are charged with this.

    A City of Sadness (Hou Hsiao-hsien) Taiwan 1989, 157 min, original version with German subtitles
    The story of a Taiwanese family caught up in the whirl of events in the post-war era. The film begins in 1945 with the end of Japanese occupation and depicts the brief transitional period until 1949, when the country is oppressed again by the authoritarian politics of mainland China.

    Touch of Evil (Orson Welles) USA 1958, 111 min, original version with German subtitles
    A crime film, a late “film noir” work, which is also located at the Mexican-American border. Welles is less interested in the border as a concrete political site, but more as an exaggerated, moral no-man’s-land, where all certainties crumble into dust.

    Loin (André Téchiné) F/E 2001, 120 min, original version with German subtitles
    Young Serge travels back and forth between France, Spain and Morocco as a truck driver. In Tangier Serge, Sarah and Said cross paths. “Loin” unfolds a fabric of wishes and dreams, in which the private sphere and the concrete political conditions are mutually interwoven.

    Border Incident (Anthony Mann) USA 1949, 94 min, original version
    One of Anthony Mann’s early works. Two American undercover agents infiltrate a ring of human smugglers operating between the American-Mexican border.

    Scarface (Brian De Palma) USA 1983, 170 min, German synchronized version
    Al Pacino plays the Cuban immigrant Tony Montana, for whom there is nothing in the USA except misery. “The world is yours.” He takes this advertising slogan promising the “American way of life” and makes it his own with a vengeance.

    Zeit der trunkenen Pferde (Bahman Ghobadi) Iran 2000, 79 min, original version with German subtitles
    This feature film shot with amateur actors depicts with naturalistic force the rough existence of five orphans in the north of the Iranian part of Kurdistan. A life-saving operation for the eldest, handicapped orphan Madi is to be paid for with money earned by smuggling across the border. For this operation Madi has to achieve the impossible: to reach the other side of the border.

    Allemagne, année 90 neuf zéro (Jean-Luc Godard) F 1991, 62 min, Ger./Fr. original version
    A commissioned work for television on the theme of loneliness. Godard decided to make a film about the loneliness of a state. After the disappearance of the German-German border, the aged agent Lemmy Caution wanders through the former GDR territory and approaches the west. His path is strewn with traces of German history.

  • Screening: Fresh Aufhebung, 2.9. – 16.10.2004

    Artistic interest in the philosophically negated belief in miracles
    Film series, compiled by Jutta Koether

    „This film series is designed to showcase a special notion of ‘art film’ and apply the topic of film and métissage to the film itself. The selected films are not merely based on a single idea, but are a fabric of cinematic ideas and genres—indeed, the films are themselves nearly unclassifiable artefacts. These ‘blended existences’—mixtures in which one can find overlapping Pornocult/Underground/Horror/ DocuDrama/Drugculture/CrimeStories, and so on—address their own hybrid nature in very different ways.

    Métissage is interpreted here as the ‘cultures between cultures’ which result in this context—the feelings of destabilization and the dissolution of affiliations. It is the blurring and new formation of an art form as a world between worlds, in which loss can also be experienced as liberating. There are expressions of forms of non-insight that come precisely from these intermediate worlds. There is fractured occultism. There is a potential for aggression inherent in some of the films. Or cult structures. These films inhabit an area beyond such categories as ‘feature’ or ‘auteur’ film, yet in some cases, they are marked and enriched by practical experience. In any case, the most personal subject matter intermingles with the extremely general.

    Something that causes the Aufhebung (denial) of self. To not become part of the dissolution—not to inhabit the space inbetween or to consider oneself to be the other niche, but to put oneself on the line precisely there—that is the ‘Aufhebung der Aufhebung’ (denial of denial). In other words: ‘Fresh Aufhebung’—a process, an artistic interest in the philosophically negated belief in miracles. Something is communicated unintentionally in the works of this series. Psychoaesthetic effects become clear in the process. There is a mixing of effects. The film series becomes a living stage on which ‘not being denied’ is presented, and self-hybridization—a productive negation of one’s own nature and genre—is performed in very different ways.

    I consider such events to be a reinforcement of the practical-political mysteries of artistic work, as rituals from which artistic action can arise. Each film is its own existence on probation; each has its own unique elements of tragedy and parody, and its own vivid, momentary revelations of the inexplorable.“ (Jutta Koether)

    The artist Jutta Koether lives and works in New York and Cologne.

    Colloque de Chiens
    Hypothèse du tableau volé, Raúl Ruiz, F 1978, 88 min.
    Ruiz’s film began as a documentary about the writer and painter Pierre Klossowski, but quickly turned into a fascinating feature film essay. In the film, an art collector conducts a tour of his fantastic collection of “living pictures.” One mysterious picture is missing. This is considered one of the most significant French films of the 1970s.

    Performance, Donald Cammel, Nicholas Roeg, GB 1970, 105 min.
    The story of a wanted gangster who hides out with the rock star Turner (Mick Jagger) and loses himself in Turner’s hedonistic world of bisexuality and transcendence. He eventually seems to exchange personalities with the musician.

    The Man We Want to Hang, Kenneth Anger, USA 2002, Short film

    Paganini, Klaus Kinski, I 1989, 82 min.
    A portrait of the legendary “Devil’s violinist” from Italy, Nicolo Paganini (Klaus Kinski), who drove audiences wild with his virtuoso performances. The framework of the film is a spectacular concert during which Paganini simultaneously experiences the past and the future.
    Trouble Every Day, Claire Denis, F/GER/JAPAN 2001, 97 min.
    Claire Denis’s horror thriller of love and desire displays bloody, sadistic tendencies. The film stood apart when it was shown at the Cannes Film Festival in 2001. There and elsewhere, “Trouble Every Day” has distinguished itself from the “normal” by making normality itself its subject in a realistic, fantastic, and thus extraordinarily self-reflexive fashion.

    Dead Man, Jim Jarmusch, USA 1995, 116 min.
    This film combines aspects of the western with film noir. In expressive black-and-white images, the viewer witnesses a man’s transformation from clumsy bookkeeper (Johnny Depp) to western hero.

    Woton’s Wake, Brian de Palma, USA 1962

    The Responsive Eye, Brian de Palma, USA 1966

    Dionysus in 69, Brian de Palma, USA 1970

    Medea, Lars von Trier, DK 1979, 77 min.
    Lars von Trier based his television adaptation on an unfilmed screenplay by Danish director Carl Theodor Dreyer. It is an atmospheric and powerfully visual version of the classic Greek tragedy, in which Medea seeks bloody revenge for betrayal by her husband Jason.

    Andy Warhol TV Show, USA 1979

  • Screening: Blut ohne Boden – Boden ohne Blut (Blood without soil - soil without blood), 11.6. – 3.7.2004

    A film series on a different concept of migration, compiled by Slavoj Žižek.

    Opening speech by Slavoj Žižek on 09.06.2004, 7 pm

    “With Judaism a radically new understanding of society is emerging, namely of a society that is no longer based on sharing common roots: “Every word is an uprooting. The constitution of a real society is an uprooting – the end of an existence in which “being at home” is absolute and everything comes from within. Paganism takes root […] Paganism is the local spirit: Nationalism in terms of its cruelty and mercilessness […] A humanity with roots that God has within, with the sap rising from the earth, is a jungle or a pre-human humanity. (Emmanuel Levinas)

    The opposition based on this view – “good” nomadic, wandering, “deterritorialized” subject versus “evil” subject, fixed on his ethnic-religious-sexual identity – dominates our ideological sphere. But the main message of our late capitalist experience is that we cannot simply trust such coordinates. For, first and foremost, a radical “deterritorialization” of subjectivity, in which even the innermost characteristics of our identity “disappear into thin air” (Marx), is the elementary characteristic of today’s global capitalism, which has fully adopted the logic of aimless excess.

    This situation forces us to question the fashionable celebration of nomadic or “hybrid” subjectivity: To use the same term to describe a poor peasant forced to emigrate because of a local ethnic war or a devastating economic crisis as to describe a member of the “symbolic class” (academic, journalist, artist, art manager) who constantly travels between capitals of culture amounts to the same obscenity as equating famine with a slimming diet. Our first ethical-political duty, therefore, is to take a more complex approach to the issues and to subject the concept of “migration” to a kind of spectral analysis in which we have to distinguish between opposing tendencies, from emancipative to enslaving.

    Slavoj Žižek (*1949) psychoanalyst, philosopher and cultural critic, lives and works in Ljubljana.

    Lamerica (Gianni Amelio) I 1994, 115 min, DF
    The film par excellence about the emigration crisis that followed the dissolution of Real Existing Socialism: In a kind of Benjaminian dialectic in suspense, today’s longing for the promised land of Italy overlaps with the Italian longing for America.

    Sansho Dayú (Kenji Mizoguchi) J 1954, 119 min, OmdU
    This story, set in medieval Japan, of a noble family torn apart by war and of the mutual longing between son and mother is a melodrama in the most sublime and noble sense of the word: the story of an absolute family bond that outlasts all distortions and divisions.

    Watch on the Rhine (Herman Shumlin) USA 1943, 114 min, OF
    Hollywood’s most radical confrontation with the limits of liberal humanitarianism: against the backdrop of Nazism, a liberal American family generously accepts distant relatives from Europe, but then finds itself forced to take the far more radical step of participating in a necessary killing.

    The blue light (Leni Riefenstahl) D 1932, 72 min, OF
    Isn’t Junta, the solitary wild mountain girl, an ostracized woman who almost falls victim to a pogrom instigated by the villagers – a pogrom that must remind us of the anti-Semitic pogroms? Perhaps it is no coincidence that Riefenstahl’s lover at the time, Bela Balasy, who co-wrote the screenplay, was a Marxist.

    Viaggio in Italia (Roberto Rossellini) I 1953, 82 min, OmdU
    The ruins from Italy’s past form the background for a rich American couple in marital crisis: in doing so, they retain their profound ambiguity, so that the material presence of the ruins constantly undermines their “obvious” metaphorical meaning (as a symbol of the ruined relationship of the couple).

    The Silence (Ingmar Bergman) S 1963, 91 min, DF
    Bergman’s true masterpiece: the train journey of two sisters and a little son, with a stay in an unspecified Eastern European country whose atmosphere of sensual decay and sexual depravity offers a perfect “objective correspondence” to the discomfort of modern life.

    Hiroshima mon amour (Alain Resnais) F/J 1959, 89 min, OmeU
    The love story of a couple in Hiroshima in the 1950s (a French woman fleeing the trauma of her German soldier lover, a Japanese man marked by the trauma of Hiroshima) unfolds the axiom of love as a magical event that overcomes even the most devastating historical traumas.

    The Seventh Continent (Michael Haneke) A 1989, 107 min, OF
    Is not the ultimate “migration” the journey to death itself? Haneke stages this directly as the planned journey of a family whose members decide to commit suicide together: no pathos, simply a cool rational implementation of the decision.

  • Screening: Masse und Monument – Migration und Hollywood (Mass and Monument - Migration and Hollywood), 23.4. – 15.5.2004

    A film series, compiled by Diedrich Diederichsen

    Lecture by Diedrich Diederichsen on 22.04.2004, 7 pm

    In classic Hollywood cinema, mass scenes are regarded as a sign of high production costs. At the same time, they satisfy a very particular and specific cinematographic curiosity that goes back to the beginnings of moving pictures. For Siegfried Kracauer, for example, cinema was the first medium to make the new metropolitan masses of modernity visible and also made a decisive contribution to their self-image and self-discovery: to mobilization as well as to stillness. For many discourses on migration, it is also the mass nature of the migrants that makes up its decisive and also psychologically and propagandistically significant component. This is particularly true in the phobic notions of invading hordes and floods, which are so crucial to the mobilization of xenophobia and racism. In the USA, and thus also in Hollywood cinema, there have always been two kinds of masses: such phobically occupied natural catastrophically dehumanized floods of evil masses (Indians, aliens, Vietnamese) and next to and against them the positively occupied masses of settlers, but also of migrants, who contribute productively to the melting pot.

    Who is a good and an evil mass, and how this changed and was fought over in the history of Hollywood, wants to show this series with selected examples: certainly none of these films is uninteresting, but also none is simply exemplary, and they were not chosen for their qualities, but rather for their symptomatic qualities.

    Even the earliest film represented here, “Intolerance” by the cinema pioneer Griffith, shows that the ambivalence of mass portrayal must take the path of monumentalization. At the moment when the masses achieve a face of their own beyond the sum or enhancement of the individual, they are suitable for dehumanization as well as idealization. Griffith’s film was a kind of apology for his racist classic “Birth of a Nation”, which drastically demonized African Americans. In both films, however, one can see how fleeing or conquering, threatened or menacing masses can be dehumanized – sometimes rehumanized – by means of minor cinematographic measures. Another film in this series was also intended as an excuse: Cheyenne Autumn was supposed to revise the demonization of the Native Americans in so many Hollywood productions, and for this it invents an image from the arsenal of the history of the mostly positively portrayed European migrants who emigrated to the USA: the Cheyenne become displaced persons, but unlike the migrants from Europe, no “new home” beckons to them. Accordingly, the pop-festival monumentalization “Woodstock” identifies the hippie masses with a nation of displaced persons who are looking for a new territory. With different accents, “Days of Heaven”, “Heavens Gate” and “Gangs of New York” also show the situation of European migrants in the USA of the 19th century as class destiny, and despite different weaknesses, beyond any idealization. The migrants in Hollywood rarely made it to revolutionary masses, despite the rather biblical “Spartacus”, but as a sought-after and desired special effect especially in the first half of its history, their image was always an open space open to different ideological instrumentalizations. In the process, standards and clichés emerged that even today shape the idea of crowds of people who are not represented by a form of government or another regulated collective identity.

  • Screening: Selbstbilder – Fremdbilder (Self-images – External images), 7.11. – 7.12.2003

    A Filmseries by Antje Ehmann and Harun Farocki.

    Contemporary cinema in France takes a particular look at issues concerning migration. So extensively, in fact, that a new genre has developed called “cinema beur”—films by North African filmmakers who have grown up in France and address the problems of Maghrebi immigrants. In many of these films, as in many other films by young French filmmakers, France is portrayed well as being both a country of cinema and of immigration. However, other than very successful films, such as “La Haine,” few of these are shown in Germany. Yet our aim was not to track down and screen rare or obscure films, but to show good, interesting, key works of this socially relevant style of film-making—regardless of whether they are new or rediscovered—as a basis for discussion. (Harun Farocki and Antje Ehmann)

    Opening Lecture: Harun Farocki
    Following the lecture:
    F 1966, in French, with German subtitles, 35mm, 90 Min.
    The “Her” in the title refers both to the Paris suburb and the protagonist, who tries to live there as both housewife and prostitute. This film from the 1960s is France’s first banlieue film, created before the word for it was developed.

    F 1986, in German, 16mm, 110 Min.
    This pilot cinema beur film about the friendship between the Maghrebi Majid and the Gallic Frenchman, Patrick, abounds with cinematic brilliance and remains powerful and contemporary to this day.

    LA HAINE / HATE (Mathieu Kassovitz)
    F 1995, in French, with English subtitles, 35mm, 98 Min.
    Over half a million viewers saw “La Haine” within weeks of its release. The film received the “Best Director Award” at the Cannes Film Festival and has become the most reviewed film in recent history. The banlieue, or Parisian “suburbs,” are the subject of the film and likewise a synonym for France’s worst problems: unemployment, social isolation, racism, suburbanism, crime, and violence.

    LA PROMESSE / THE PROMISE (Luc et Jean-Pierre Dardenne)
    B / F 1996, in French, with German subtitles, 35mm, 93 Min.
    The Dardenne brothers—masters of Verist cinema—tell the story of the moral awakening of a 15-year-old boy who no longer wants to take part in his father’s unscrupulous practices. With documentary-style precision, the film conveys how illegal immigrants are exploited.

    F 1996, in French, with German subtitles, 35mm, 103 Min.
    Denis’s film, which received a “Golden Lion Award” at the Locarno Film Festival, justifiably received rave reviews. The film tells the tale of two siblings, Nenette and Boni, while also portraying the real life of the working class in Marseille. Migration issues likewise weave their way through this “reality” in a humorous way.

    LA VIE DE JÉSUS / LIFE OF JESUS (Bruno Dumont)
    F 1997, in French, with German subtitles, 35mm, 96 Min.
    This film is about the life of a group of young people, who pass the time “out in the sticks” by driving around on their mopeds and fixing up old cars. Their future looks dim. Breathtaking to the last second, Dumont’s film manages to find mystery in the smallest, most banal details of everyday life. A début film that has enabled French cinema to soar to stunning heights.

    SAMIA (Philippe Faucon)
    F 2000, in French, with English subtitles, 35mm,73 Min.
    In “Samia,“ Faucon tells the story of an Algerian immigrant and her three sisters who want to be normal, young, French people and what prevents them from achieving that. The story seems familiar, yet we have seldom, perhaps never, seen this kind of tale told in such a visually and narratively impressive way.

    TERRA INCOGNITA (Ghassan Salhab)
    F / Libanon 2002, in French, with English subtitles, 35mm, 120 Min.
    “Terra Incognita,” screened last year at the Cannes Film Festival, is an amazing film about the lives of several people in their mid-30s in Beirut—a city in the throes of being rebuilt following a seven-year civil war. All of the film’s protagonists are naturally confronted with the topic of migration, and trying to coming to terms with the question: should we stay here and live, or leave?

  • Screening: Alle Geister kreisen (All spirits circle), 1. – 9.10.2003

    Filmseries, compiled by Olaf Möller


    A film series on the culture of migration, selected by Georg Seeßlen.

  • Screening: Slow (e)motion oder der entschleunigte Raum (Slow (e)motion or the decelerated space), 10.5. – 11.6.2003

    Film series