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. 

We would like to thank our sponsors for their kind support for this exhibition:

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

Photo Credits: Ulrike Reichart

Photo Credits: Jens Krupp

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