Previous events & exhibitions

A warm invitation to the exhibition!
Introduction by Corinna Steimel (art Historian, Director of the Gallery of the City of Böblingen).

The exhibition concludes with a closing event on February 14, 2025, starting at 7 pm.

The exhibition „Dust, and to dust you will return“ challenges the anthropocentric perspective that places humans above other beings in the world. A rotating spine, seemingly floating within the project space, offers only a fleeting reminder of the vitality of an animal. Additional objects complement the kinetic installation.

The exhibition “Schalen” [“shells”] shows the human effect on natural environments by combining building materials with organic substances. The origin of the works lies in a garden project in which an overgrown plot of land was extensively cut back and structurally altered. What remains are the relics and findings of this intervention, which can be experienced as an expansive installation.

Larissa Heim is studying at the Academie of Fine Arts in Stuttgart with Prof. Alisa Margolis
(among others).

The exhibition ends with a closing event on December 6, 2024 from 7 pm.

Water is not only one of the most important resources and a prerequisite for all life, it is also a connecting element. Wet Relations (concept and design by Beatrice Bucher and Sonja Schwarz) establishes an intimate and direct connection between us and the Neckar river with its interactive installation and reports on different relationships between human and non-human bodies of water in a lecture performance (read by Jana Rzehak).

The project is a format of  the neckarinsel e.V. In addition to the exhibition, the association will be presenting its work.

Further program:
Friday, July 12, 2024, open from 2-4 pm
Saturday, July 13, 2024, 4-5 pm & 6-7 pm
Sunday, July 14, 2024, 2-3 pm

Opening on Friday, April 19, 2024 at 7:30pm with a performance and introduction by Luzi Gross (Cultural scientist, Art educator, Curator). The exhibition is on view until May 17, 2024.

The exhibition is a sci-fi experiment with the fungus Ganoderma applanatum as its main agency. In reference to Stuttgart, the artist has brought the exhaust soot of a Daimler E-Class, her hair, and wood from a forest in relation with the finest hyphae of the fungus. In the laboratory, the fungus has woven a new kind of microbiome that emerges as a multispecies from fungi, tree, car and humankind. The artist repeats the experiment in a performance with the participation of visitors at the opening.

Further Composts of Newborns will emerge during the exhibition period under the climatic conditions of the project space.

The artist starts the thread winder at 11 am, the process of the falling stones can be seen until 11 pm. Introduction by Dr. Verena Jendrus at 5 pm.The exhibition can be seen until April 5, 2024.

An installation with floating stones can be seen in the exhibition with the title La Caida. All the stones are connected to each other by a thread, which is released by a thread winder. The stones gradually fall onto a metal plate. The falling of the stones is reminiscent of the ticking of a clock; time seems to pass, to run out, possibly even the time we have available to us to herald a change for our climate. What remains is the sound of the stones, which can be heard in the space as a sound installation.

Another work developed by the artist especially for the art space is a drawing created by drops of water. In this case Viviana González Méndez extends her personal space from Baden, her home in Switzerland, to Stuttgart to the river Neckar.

Renate Liebel
December 8, 2023 – January 5, 2024

Renate Liebel is a visual artist who explores man-made and naturally grown systems, thinking primarily about plants and their connection to relics of civilization. Her work includes installations in the open field, still lifes and objects of plants that do not (yet?) exist, graphic sketches, videos and friendly care processes.
For the exhibition, she made a trip to the University of Hohenheim, Department of conversion technologies of renewable materials into the production of bio-based plastics. Inspired by the carbon and nutrient cycles, drawings of fictitious plant-machine hybrids were created that hybrids that can incorporate microplastics and other synthetic materials into metabolic metabolic processes.
In addition, experiments with soil as a modeling material and an artistic look at the mattress that has been left lying in the forest and has been given a new life over the years.

Live performance Stuttgart, September 21, 2023
„Listen to bogs – see bogs“ is a live performance of light art and sound art. This format works with material beyond the tiny range of human sensory perception. Bogs are not normally audible, individual cells of peat moss are not visible. Kurt Laurenz Theinert’s visual language uses these microscope images and translates them into an aesthetic experience. Similarly, the sound of organic processes deep in bog bodies is used as source material for sound processing. Invisibility and inaudibility are transformed into perceptibility. Live measurements of climate data from the performance venue, such as CO2 and room temperature, intervene directly in the visible and audible. The audience experience and shape the processes themselves through their presence. Immersive, expansive 360-degree video installations and the quadrophonic sound structure allow the audience to immerse themselves in incomprehensible processes.

Kurt Laurenz Theinert – Light art
Kurt Holzkämper – sound art
monascollective.com

Opening on Friday May 19, 2023 on 7:30 pm
In the exhibition blühen (blossom), each monument is created only for a single moment. Each item is found in everyday environments, especially plants in the green spaces of Stuttgart. The exhibited pieces will be borrowed, assembled for the exhibition show and then afterwards returned, if possible, otherwise recycled. The exhibition will change its appearance constantly over the period of the four weeks.

The exhibition ends on June 16, 2023 on 7 pm with an introduction of Enno Lehmann.

Introduction by Dr Verena Jendrus, art historian.

The exhibition ends on 21 April with a finissage starting at 7 pm. 

The video work Lost Waters and Found Stairs deals with the effects of man-made advance on fish in rivers. Poetic moments are combined with documentary film sequences. Among other things, the artist duo explores the question of how and whether humans can intervene in nature without completely upsetting it. Other pieces of the group of works are also on display. For example, a sculpture made of fired clay and concrete reliefs.
On the Long Night of Museums on 25 March 2023, the exhibition will be open from 6 to 1 pm. The artist duo will be present and will give guided tours of the exhibition at 7 and 9 pm. 

Over the course of several years, the design studio anima ona artistically explored the large-scale construction site Stuttgart 21 as a place of transformation. In the project titled Archaeology of a City Mine, the area surrounding the main train station was transformed into an archaeological excavation site.

In this work, anima ona assumed the role of excavators. In various ways, they made visible the diverse material and metaphorical layers of the construction pit.

The activity on the construction site was documented through photography; artifacts were collected, archived, and examined for their aesthetic and functional characteristics. In a continuous search for previously untapped resources and possibilities for reuse, they processed the discovered relics through a kind of modern palimpsest process*, thereby assigning them new value and different meanings.

Inside the exhibition space kunst [ ] klima, a walk-in room-within-a-room is on display. It presents a digital archive of the artifacts, along with video films that illustrate the site’s transformation processes. In addition, soil from the S21 construction site is distributed throughout the space.

Clemens Schneider
Juli 9 to Juli 29, 2022

Excerpt from the opening speech for the exhibition opening from
Barbara Karsch-Chaïeb, Curator of the exhibition

Evangelia Ntouni, April 8 to May 6, 2022

On the Exhibition
Presence does not necessarily require physical attendance. Presence can also arise – and in a far more striking way – through absence. Evangelia Ntouni transforms the project space into a stage. At the center: a table and two chairs. Mother earth covers the table, thereby stripping it of its intended function. It could only be used if someone were to brush the soil aside. Earth is also piled around the ensemble on the floor, as if it had grown out of it, meant to protect it – or isolate it? The work evokes both distance and connection; the intense smell of earth fills the room. Collages hang on the walls: found photographs, repeatedly edited and alienated. Depicted: hands without bodies, gestures without history. Like ghosts, they surround the table, chairs, and soil. A dialogue develops between the works – a conversation about absence, and its power.

About the Artist
Memory is a central theme in Evangelia Ntouni’s artistic work – primarily, but not exclusively, her own memories. She attributes great value to the old, the existing, to objects that carry their own history. Evangelia Ntouni, born in 1991 in Athens, first studied monument preservation in Patras. In 2015, she came to Germany and spent a year in Aachen before moving to Stuttgart, where she studied at the State Academy of Fine Arts under Professors Susanne Windelen and Sofia Hultén. Evangelia Ntouni works primarily in installation – mainly using plaster, ceramics, and collages. Her works become embodiments, works that demand touch, always in relation to human actions: engaging with the past and the present.

Text: Ben Schieler