Echo Documenta 15

———— Filed under: Exhibition

Publ. 09.18.2022

Echo Documenta 15

Of course, I visited Documenta 15. Part of my family lives in Kassel, and we combine a family reunion with a visit to Documenta every time the exhibition takes place.
Experiencing an exhibition is completely different from inspecting or even judging it by media without ever having been there.

There are, of course, quite careful digital insights, e.g.:

Especially in the case of Documenta 15, many people gathered around the media echo and judgment of the journalists, the majority of them certainly did not visit Documenta either. Very unfair for the many artists involved who certainly feel stampeded.

An exhibition is an experience in space combined with a social walk-through. In the best case, lasting impressions are created. For example, I was deeply impressed by the orchestration of the group INSTAR from Cuba, Dialogue Kassel-Havana; there is also a great video I will not forget.

Instituto de Artivismo Hannah Arendt

Political art is certainly problematic in the narrowing down to a proclamation. This, however, is not a strong limitation in the individual work of art, also repelling visitors/audience.

I always remember the example of an exhibition in Heidelberg many years ago I was co-responsible for. We had guests from Switzerland who were very religious. At one work of art I had hardly noticed before, they burst into tears. Even now I remember the title: Jesus-Egon-Jegon (with little brown copulating figures). Fortunately, that was not the stamp of the whole exhibition. We were able to reconcile them.

Artistic freedom, that’s essential; otherwise you can forget art as a blueprint for the future.

But Bazon Brock gave me the essential hint: when I cut the connection between the individual artwork and the audience, I get into the problem of the political stamp.An artists’ collective with a political claim automatically enters the social discourse.

You have to take into account the taboos in the host country of the exhibition. There are taboos in Indonesia, too. Hammer and sickle is not acceptable there.

I asked an artist friend who lived in Indonesia for a long time: “Of course they are also anti-Semitic,” but actually it was mainly communists and Chinese who were killed there. But it doesn’t work very well in the exhibition concept.

Our taboo also is not always very well researched and reflected by the journalist community.
Ascent of King Richard I to the throne in London on September 3, 1189, a Sunday: “On Coronation Day, about the hour that the son was sacrificed to the father, the Jews in London began to be sacrificed to their father the devil, the fire sacrifice [holocaustum] not being completed until the following day.”[7]

We Germans did not have the idea, but we industrialized it, “Death is a master craftsman from Germany.” (Paul Celan)

And the master must also be liable for his craft. And that is why we rightly apply the taboo stamp.
The Ruangrupa collective rightfully deserves it, but not the many artists involved in Documenta 15.







Your Art Beat goes Podcast – Folge 2: Was bedeutet Heimat?

———— Filed under: Art ⁄⁄ Podcast

Publ. 08.17.2022

In Folge 2 unseres Podcasts redet Carsten Jan Weichelt (YAB) mit den Künstlerinnen und Dozentinnen Kim Dotty Hachmann und Yvonne Michalik über das Thema Heimat.

me, my family and I_© Kim Dotty Hachmann_photo and video.jpg

Hierbei stellen sie sich die Frage, was Heimat damals bedeutet hat und wie man den Begriff in der Postmoderne definieren könnte? Wann ist Heimat
Heimat, welche Faktoren spielen eine Rolle und was hat es mit der Wurzelfamilie, Flügeln und der Suche nach sich selbst auf sich? Hört euch jetzt die zweite Folge an und kriegt Antworten auf diese Fragen und wer weiß, vielleicht stellt ihr sie euch am Ende selbst?

©Foto bei Yvonne Michalik

Hier könnt ihr euch den Podcast auf Spotify anhören.
Hier könnt ihr euch den Podcast auf anhören.
Hier könnt ihr euch den Podcast auf Amazon anhören.
Hier könnt ihr euch den Podcast auf Apple Podcast anhören.

Hier gelangt ihr zur Homepage von Kim Dotty Hachmann.

Carla Marini

———— Filed under: Allgemein ⁄⁄ Art ⁄⁄ Artist ⁄⁄ Artwork ⁄⁄ Market
Tagged with: // // // //
Publ. 02.1.2022

“What is not critical thinking art, I call decoration” – Alfredo Jaar.

Every year Your Art Beat is looking for new artists to exhibit and sell their artworks at the YOUR ART BEAT Market. Today, we would like to introduce the new artists. The first artist will be Carla Marini, who applied and was selected for the Your Art Beat Market with her project “Ephemeral women”. Carla Marini was born in the Chilean desert. She became interested in creative work from a young age, attending workshops and everything that was related to this somehow. She moved to Barcelona in 2016 for her master’s degree in illustration. In the interview, she talks about her career as a professional artist and introduces us to her project “Ephermal women” more in detail. Carla Marini describes her own art as: feminist, expressive and colorful. With her art she wants to represent women, put them in the center of attention and thus give them more visibility, “on their full complexity, focusing on the oppression of woman in patriarchy”, Carla writes. Furthermore, her work deals with sexism and the feminicide. Important and exciting topics that her art is intended to raise attention to. Art is for Carla “[…] two main things. It’s version B of the history – the most critical, sensitive and honest narrative of it. On the other hand, for me, it’s a fight. I really believe in the political sense of art.” Nor is she critical of digital art. In her opinion, digital art can be used to create something truly new and unseen. Carla defines culture “[…] as a bunch of human expressions. It can be folklore, crafts, even street food. It’s everything happening in a specific place and time so it’s kind of a collective soul of a region. I come from a very particular region of Chile, where there is a very unique Carnival full of color, dance, and music that is really felt in society and is a sign of resistance to colonialism. I have something of it inside of me and all of this gets expressed in my art as part of my cultural identity.” So, please welcome Carla Marini to the Your Art Beat Blog! Check out the whole interview right now. Enjoy.

1. Introduce yourself and also the project, with which you had applied to YourArtBeat: “Ephemeral women”

I was born in the Chilean desert, and I inherit the love for the carnival of the North. My art comes from this imaginary, from the colors, to my interest in multiculturalism and feminism.

Since I was little, I have been attracted to art, and I was always in a constant back and forth between the visual and performing arts, so I was always taking in workshops on everything related to that…it was obvious that I would finally study art at university. I studied performing arts, after a while, I started worked on visual poetry and performance… In 2016 I moved to Barcelona -the city where I am currently based- to study a Masters’s degree in Illustration…

Conceptually my research has always been around identity, thinking in the concept of otherness, in many ways, because I want to bring forward elements of it that historically have not been appreciated.

My work lately has been a journey between abstract and figurative portraits of women, it is a kind of metaphor for the disappearance of women in the patriarchy…in every possible way. From the symbolic to the literal, the extreme expression of sexism…the feminicide.
Also it is a personal reflection of my knowledge of feminism regarding the deconstructions you must make in order to be coherent.

2. Where do your ideas come from?

The core idea comes from social injustice, political issues, and whatever happens around that triggers something uncomfortable inside me.
Besides, living in Barcelona is a deep dive into different cultural expressions…It could be a photography exhibition, a lights festival or a concert…anything that nourishes your brain. Definitely being in a place full not only of art, but also full of cultural diversity and life is a shot of bubbling energy.

3. What inspired you especially for the project “Ephemeral women”?

Initially, the project was something related to the concept of ephemeral forms that disappear and get visually destroyed. It started as an investigation of what deconstructions of the portrait of a woman means and it was very visceral.
Working on that I realised that I was speaking about the literal disappearance of women due to feminicide.

In the process of developing the series I have been doing a thorough research about other topics regarding feminism, such as the beauty myth, gender roles, sexual violence,etc.
One of the main focuses of the series has been the double oppression of racialized women in society, which was inspired by a reading “Women, race and class” by Angela Davis.

4. How do you work on your creative (creation) processes?

I usually start with a very precise idea in my mind, a clear defined image and then I start exploring the technique. Only a few times I prepare a sketch because the process for me is getting the image as tangible and accurate as possible.

I also like to surprise myself during the process and let the mistakes take place as mistakes are really where you learn from the most.

I’m really obsessed with the initial image and in the last project, for example, I wanted to mix abstract and realism, using collage technique and acrylic. Therefore, this serie immediately developed in a very natural and organic way.

5. What advantages do you personally see in digital art?

Digital art allows us to create something really new and unseen nowadays as many expressions of arts have been explored already. Therefore, as technology advances, the more digital artists can embrace them and get new possibilities out of them. I can say -thinking is everything done- the digital artist has a potential in her hands that analogic artists usually don`t have.

6. What do you want to express with your art, or does it change with each project? Or, for example, is there always a consistent main element/theme?

I’ve always represented mostly women in my artworks. At the beginning of my career, I started drawing portraits and then I touched topics around racial hierarchy and migration, ending up with the representation of women only. As much as I got deeper in women issues and the power of patriarchy I started focusing on women’s portraits as this moves me. In any case it has always been about identity and the concept of “otherness”. I finally committed myself to feminine portraits and feminism and I decided to portrait only women as historically, they have been represented as muses and beauty objects. I want to put them in the centre, giving them visibility on their full complexity, focusing on the oppression of women in patriarchy.

7. What does “art” in general mean to you?

Art for me is two main things. It’s version B of the history – the most critical, sensitive and honest narrative of it. On the other hand, for me, it’s a fight. I really believe in the political sense of art. Call me naíf or call me pretentious, but I really believe if I can touch and “crack” someone in any way I’m on the right path. It is a giant dichotomy and that on the one hand I believe that there is nothing to do and nothing will chancge, and on the other hand I hace the impertinent need to try again and again to change something, no matter how small, that generates a minimun movement in some place… Like Gramsci said: “Pessimism of Intelligence, optimism of will”.

8. What does “culture” mean to you?

Culture is a bunch of human expressions. It can be folklore, crafts, even street food. It’s everything happening in a specific place and time so it’s kind of a collective soul of a region. I come from a very particular region of Chile, where there is a very unique Carnival full of colour, dance and music that is really felt in society and is a sign of resistance to colonialism. I have something of it inside of me and all this gets expressed in my art as part of my cultural identity.

Not sure what Your Art Beat Market is exactly? YOURARTBEAT Market is a digital marketplace dedicated exclusively to art trading, interactions and transactions between buyers and sellers. YOURARTBEAT intentionally opens the market to newer and unconventional visuals and digital art.

Summer Art Festival @ Computerspielemuseum – präsentiert von Your Art Beat, Strollology und Dogma2021

———— Filed under: Art ⁄⁄ Digital ⁄⁄ Market ⁄⁄ real

Publ. 08.22.2021

Am 03. und 04. September 2021 heißt das Computerspielemuseum Euch herzlich zum Spielen, Tanzen und Entdecken willkommen.

Im Rahmen des Summer Art Festivals @ Computerspielemuseum“ stellen sich verschiedene Künstlergruppen vor, die ein Programm aus Musik, Digitaler Kunst und Fashion bieten. Die Veranstaltung findet Freitag (03.09.) und Samstag (04.09.) auf der Terrasse des Computerspielemuseums Berlin statt und beinhaltet unter anderem einen Stoptrick Schnupperkurs, eine Freestyle Cypher Competition und eine kreative Performance des Modelabels SYLD.
Strollology präsentiert „Dig Yourself Out Of The Shit“ als Fassadenmedium. Abschluss des Events wird der Live Kick-off Podcast von Dogma2021 zum Thema Technologie, Kreativität und Gesellschaft sein (Samstag, 20:00 Uhr / Moderation: Karim Bartels / Speaker: Dr. Matthias Welker -Your Art Beat e.V. und Lars Roth –Strollology / max 20. Personen).

Das Computerspielemuseum, der Your Art Beat e.V. und Strollology freuen sich auf Euren Besuch! See you!



16:00: Stage Piano – Rosanno Snel

18:00: Stage Piano – Rosanno Snel


14:00: Führung auf der Karl-Marx-Allee – Achim Bahr, Stalinbauten e.V.

15:00: Stoptrick Schnupperkurs – Dominik Mader & Ben Lützow

17:00: Tanz Performance – Ela & Rubén

18:00: Line in Cypher Competition – Sadi da Kid, Pdro420, Liuz

19:00: Kreative Performance – SYLD mit DJ Diana May

20:00: Dogma2021 Panel – Live Podcast #wirsinddogma


Interactive Game – Yuxi Long

VR Booth – Your Art Beat

Digital Artworks – Michael Filmovi

Virtual School – Aizhan Sagayaneva

Kunst aus dem Computerspielemuseum

Fassadenmedium DYOOTS


———— Filed under: Allgemein ⁄⁄ Art ⁄⁄ Market
Tagged with: // // // // //
Publ. 06.1.2021


is a creative network that celebrates the diversity of arts and creative expressions. The digital art project is caharcterized by the desire to convey art realistically, appealing to several senses leading to a comprehensive experience.
Part of this project is the Your Art Beat Market. Here we are experimenting with the boarders and intersections of the Digital and the Analogue.

This year ten artists art invited to exhibit and sell their artworks at Your Art Beat’s digital market place that is exclusively dedicated to art trade, interactions and transactions between purchasers and vendors.
One of the main focuses is set in digital and media arts – coded or generative, 360° or VR but in general, we are open to classical works, as well as experimental works – as long as they have that certain something that impress and convince us.

We are looking forward to receiving applications from artists of all disciplines. Just send an email with your portfolio or web links and tell us briefly why you should be one of the next Your Art Beat Artists.

Applications to:
Deadline: 22.06.2021

Download as pdf:

You can find the Open Call also here:
Artconnet – Open Call Your Art Beat

Check out the Your Art Beath Virtual Booth
Your Art Beat Virtual Booth

Check out the Your Art Beat Market
Your Art Beat Market

Follow us on Instagram: @yourartbeat

The 3D Virtual Booth is live

———— Filed under: Art ⁄⁄ Augmented Reality ⁄⁄ Digital ⁄⁄ Market

Publ. 05.19.2021

Welcome to the YOUR ART BEAT Virtual Booth. Here you can find our artists, projects and everything about our association with the experience of a virtual room.
The 3D VR Booth is designed by Strollology for Art Karlsruhe with Your Art Beat e.V.

YourArtBeat Virtual Booth

Project management: Teferie Amenu Tafesse with students of the School of Popular Arts Berlin
Design: Anna Roth, Strollology
Coding: Gabor Kovacs, Berlin School of Design and Communication
Supervision: Matthias Welker, YOUR ART BEAT e.V.

Visit our shop and blog, donate and become a member! Enjoy!

Blickwinkel II – by Sophia Vecchini

———— Filed under: Art ⁄⁄ Exhibition ⁄⁄ Market ⁄⁄ photography
Tagged with: // //
Publ. 03.25.2021

For her exhibition “Blickwinkel”, Sophia Vecchini let people without shelter become artists, as they were allowed to capture their everyday lives with a disposable camera. Sophia Vecchini conceived an exhibition from the resulting material. “It’s a nice feeling to give people the chance to be seen: with their perspectives, their courage and look at the world.” The exhibition can be summed up as unique, human and inspiring. Why? Read the interview and learn more about the special project “Blickwinkel”. If you haven’t read the first “Blickwinkel” interview with Sophia yet, you can find it here.

We conducted our first interview during the planning phase of your project “Blickwinkel”. Now, a few months later, the time has come and “Blickwinkel” is on display in the Wilmersdorfer Arcaden, a shopping mall since 24 March 2021.

Yes, I am very pleased that the exhibition now also has a second venue, namely the Wilmersdorfer Arcaden. Due to the current Corona measures, the exhibition at the Zentrum am Zoo has been postponed indefinitely for the time being. In the Arcaden, the exhibition is presented in a glass box. That’s great, because despite Corona, the shops are open for everyday needs. That’s why the arcades still have more than 10,000 visitors a day. This is, of course, a great opportunity for “Blickwinkel” to be seen (despite current Corona measures). The artworks are also offered for sale at the YourArtBeat Market. This is very important to me as I want the artists to get a financial reward too. Because they have taken the time and reflected things.

In the last interview you said that you wanted the artists to get money. But you also said that there were voices that said: Yes, but if you give money to people without shelter, they will probably spend it on drugs or alcohol.

That people without shelter always spend their money on drugs or alcohol is a prejudice, and in my project I want every artist to be seen as a human being and not as a person without shelter. Because for me, it is essential to emphasise that one should not approach people without shelter with such generalised prejudices. Moreover, for me and Katrin Lück, who is the patron of “Blickwinkel” and the Equal Opportunities Commissioner for the Wilmersdorf-Charlottenburg district, self-determination is very important. Equality means equal rights for all. We don’t tell anyone else how to deal with their money.

How many artists were you ultimately able to recruit for your project?

There are now four artists left. I distributed 14 disposable cameras. From the beginning, 20 pictures were planned for the exhibition. I achieved this goal, but it was planned that there would be one or two pictures per artist. The problem is that, on the one hand, some were not interested in taking part in such a project. Many women were not interested and I could hear a little bit from the social workers on site that women are a bit more ashamed. It is definitely riskier to live as a woman on the street and there are also many more men among the poor people without shelter. In the end, only six of the 14 cameras came back, but I also expected this because people without shelter are not always found in the same places. And if they were not there at the time the cameras were collected – yes, then that’s it. Others didn’t know how to use the cameras and had given up, which is understandable. I could not use the pictures of two of the cameras. But it is clear that disposable cameras simply do not have one hundred per cent performance as a product. I now have four male artists left and of course I am very happy about that. I have also had real contact with two of them. That means we discussed the pictures together. The two of them are simply great people and I sincerely hope that they will get something out of it financially. Both are very grateful to all the institutions that support them.

Do you know how old the artists are?

The two I have had contact with are 60 and 62 years old. Of the other two I don’t know more than their names.

If you were to describe your exhibition with three adjectives, what would they be?

Unique. Human. Inspiring. Well, I hope that others feel the same way, but I have been very inspired by this project. At least that had been one of my goals. The aim of “Blickwinkel” is to inspire people to think about certain social issues. Especially about urban poverty and homelessness; to open up a bit more, that homelessness is not just a stigma that is stuck in our heads.

The exhibition “Blickwinkel” can be seen until 30 April 2021 at the Wilmersdorfer Arcaden “WILMA” . Please pay attention to the Corona protection measures in force.

Sophia Vecchini wants to thank: Katrin Lück, Equal Opportunities Commissioner in the Wilmersdorf-Charlottenburg district & patron of Blickwinkel; Petra Schönberger; the management and team of the Bahnhofsmission am Zoo and the ZaZ, as well as all the individual case workers and social workers of the Berliner Stadtmission who have supported me; the sponsors of the tax consultancy Freiberger & Collegen; the YOUR ART BEAT Team! (Editors, Market & Virtual Booth).

The interview was conducted by Carsten Jan Weichelt

Behind Your Art Beat – An Interview with Johanna Griebert

———— Filed under: Allgemein ⁄⁄ Art ⁄⁄ Artist ⁄⁄ Digital ⁄⁄ Market ⁄⁄ Processing

Publ. 03.2.2021

Maybe you can think of [Your Art Beat] as a kind of virtual museum

It is the year 2016. In the beginning it is just an idea, but soon Your Art Beat e. V. grew out of it. Johanna Griebert has been involved from the beginning, and today we will introduce her. Johanna is the chairperson of the board of Your Art Beat, along with Matthias Welker. In the interview, we talk about the history of the association and what Your Art Beat stands for. The aim of the association is “to take a holistic view on the art, culture and creative scene and [to] dedicate itself to the protection, preservation, wide-ranging and multimedia presentation of the most diverse arts”, as Johanna says. The mission: cultural education. The main motif here is the combination of modern media technologies and interfaces of the analogue and digital world. ” Maybe you can think of [Your Art Beat] as a kind of virtual museum,” she pursues. Artists who are selected through open calls are exhibited. Their works can be bought on the Your Art Beat Market. What exactly the YAB Market is all about? What the future of YAB will look like? You can find out in the following interview. Johanna also explains why experimenting with digital media in particular is so exciting and which features should not be missing from a good exhibition.

How did the association Your Art Beat start and what are your tasks there?

I have been involved in Your Art Beat from the very beginning. In 2016, after the presentation of my final project, back then my professor, now good friend and colleague Matthias Welker approached me and described his initial ideas for a project. From the first moment, I was enthusiastic and quickly convinced that I wanted to get involved in the project. That was practically the birth of a project that later developed into Your Art Beat. My tasks were of a conceptual, curatorial, editorial and organisational nature. At the end of 2016, the project was online and half a year later, in the summer of 2017, we founded the YAB association, which I run together with Matthias as chairperson of the board.

How would you describe the association in a few sentences?

Your Art Beat e.V. is a non-profit association that takes a holistic view on the artistic, cultural and creative scene and is dedicated to the protection, preservation and wide-ranging, multimedia presentation of a wide variety of arts. We see our mission in cultural education and in this respect call for participatory events and “creative activism”. We want to conduct discourses at eye level and dissolve static role assignments of knowledge instructor, recipient and producer. “Isn’t everybody a creator and curator?” Furthermore, Your Art Beat explores the potentials of modern media technologies and the intersections of the analogue and the digital. This is a motif that can be found in various facets of Your Art Beat.

What goals have you set yourselves as an association? What does Your Art Beat stand for?

We see our function primarily in promoting artists and supporting them in their activities. To this end, we offer various services, which we put together according to orientation and objectives, in order to be able to respond to individual circumstances and requirements.
Our goal or vision is to develop a new tool (Your Art Beat Gallery), which is to be understood as a kind of immersive and multimedia knowledge repository, in which collectively generated knowledge, artistic experiences or creative processes are saved and designed as multimedia contributions. Perhaps one can imagine it as a kind of virtual museum, composed of content from society and intended to offer participation, information and pleasure at the same time. Like a museum, this collective art and creative memory should be accessible to the public.

What exactly is the Your Art Beat Market?

The YAB Market is a digital trading place dedicated exclusively to the buying and selling of artworks, with a focus on digital and media art. Here we also find “the typical YAB motif” that I spoke of earlier: The intersection of the analogue and the digital.
So the question is: how can you produce a digital work haptically or transfer it into a physical medium?
This primarily goes hand in hand with the challenge that for each work a suitable physical medium has to be found that reflects both the visual dimensional depth and the content component (“the soul” of the work). To this end, we have experimented with different materials, such as mirror glass, (normal) glass and aluminium. This allows us to offer individual products in different design and price variants.
Furthermore, we offer additional services that can be used individually. We offer clients our knowledge and professional background, roughly speaking: content-related, legal, financial, as well as logistical matters concerning private art objects.

How do you select the artists?

Every year we launch an open call in which we look for new and special talents. The 5-10 artists who convinced us the most will be presented at the YAB Market. In addition, a selection of their works is offered for sale. Within 3-4 weeks, artists and creative professionals from all over the world have the opportunity to apply with their portfolio. At the last Open Calls we got great feedback from different countries. The decisions are usually very difficult but the result is always a very meticulous and fine selection of new talents’ works. As I said before, there is a focus on media and digital art. However, in recent years, we have also been able to convince artists from more “classical” disciplines, which means that the Market can offer a refreshing diversity for sale.

Digital media – are they more a part of the independent cultural scene or have they already entered the realm of state institutions?

Digital media have also arrived in institutional exhibition venues, but in practice they are not as mature as one would expect, or wish. Nevertheless, it’s nice to see that the use of digital media is also becoming established in “traditional” or “conservative” institutions. – Of course, it always depends on how the respective exhibition house is set up and oriented. For many exhibitions, media stations etc. are not even necessary, e.g. pure art exhibitions. Either way, anyone who wants to use media in exhibitions should choose them sensibly, plan them carefully and implement them in an overall functional way.
A big challenge that I personally perceive in my job at the moment is the topic of accessibility. Especially when it comes to electronic media, there are a lot of things to consider when implementing digital applications – be it of a design, content or physical nature. It is not easy to reconcile all of these and achieve a beautiful, functional end product. I am very pleased that more attention is being paid to the topic of accessibility in the exhibition context and that it is establishing itself as an elementary component in the exhibition business – yet there is still a lot to learn on all sides.

What makes it so exciting to experiment with digital media?

What is exciting about digital media is that digital formats give us the possibilities to present and convey content in the most diverse ways. In other words, for every content you want to convey, there are different ways of preparing and presenting it. Digital media expand this spectrum and offer us further options for presenting and ultimately conveying content in its own individual and ideal way.

What is planned for Art Karlsruhe, how will YourArtBeat present itself?

We are very pleased that Your Art Beat will be present at Art Karlsruhe this year, one of the largest art fairs in Germany, and that we will be able to showcase all its facets there. On this occasion, we have also come up with something special. In addition to the booth on the Museumsmeile in Karlsruhe, there will also be a -virtual- booth online. At the moment, Your Art Beat is still working on the development of a first prototype – so I don’t want to anticipate anything at this point.

What does the future of YourArtBeat look like? – What can we expect?

The next big Your Art Beat event will be, as already mentioned, Art Karlsruhe (21 – 24 May 2021) and in parallel – as a “digital event” – the virtual exhibition booth online. This will also be the kick-off for our next Open Call, in which we are looking for the “third generation” of YAB artists whose works we will exhibit and sell at the YAB Market. Another project I am very excited about is “Blickwinkel” by Sophia Vecchini [link from Blickwinkel post]. As part of this social project, Sophia has turned homeless people into artists and let them shoot their own motifs with disposable cameras during the winter. We will soon be exhibiting a selection of these at the YAB Market and will be able to offer them exclusively. The proceeds will go in full to the artists.

What do you think are the characteristics of a good exhibition?

A good exhibition must “seduce” and “incite” me, it must have the potential to carry me away, even if the subject does not interest me at all. A good exhibition teaches me something without the feeling of learning. It shows me new perspectives and perspectives that make me reflect and question my opinion. In the best case, I not only take away factual knowledge from an exhibition, but also become more “emotionally intelligent” and learn something about the society I live in and about myself. Not every type of exhibition or exhibition theme offers the opportunity to fully exploit these possibilities, but it should have this claim. Small things can have a big impact.

The interview was conducted by Carsten Jan Weichelt.

Blickwinkel – by Sophia Vecchini

———— Filed under: Art ⁄⁄ Exhibition ⁄⁄ photography
Tagged with: // // // // // // //
Publ. 01.14.2021

Blickwinkel – by Sophia Vecchini
Turning homeless people into artists / let homeless people become artists

Sophia Vecchini is currently in her final semester of her media management studies. In her last semester she has to develop and realize a project on her own. The idea of her project to turn homeless people into artists* resulted in a course during her studies and her social vein. “I was in a volunteer course a few semesters ago. It was about creative campaigns, theoretically. The professor introduced us to one of the Bahnhofsmission am Zoo,” says Sophia. Here she received a lot of input. ” During this course we were allowed to think up creative campaigns for the Bahnhofsmission. My group and I had a very creative focus, a lot was about different art forms,” she continues.

That is when she had the idea to look for people who come to the Bahnhofsmission am Zoo as people who are homeless and let them become artists*. They should create art, taking photos from their point of view and everyday life. Photographs that will be presented at an exhibition afterwards. Now the time has finally come: the planning phase has already begun and the idea is being realized. In the first quarter of 2021, the exhibition is supposed to open in the homeless center of the Bahnhofsmission am Zoo. The exhibition is also intended to become a place of meetings and interaction. A place where worlds collide that are usually ignored by the broad mass of society. It is about the artists* showing themselves and being seen as well.

Every person is worth the same, every person deserves to be treated equally. Sophia takes the first step and invites you to join her creative process. In the following interview, she tells us how far she has progressed with planning so far and what difficulties, but also opportunities, have opened up for her.

How did you get the idea?

I am in the last semester of my media management studies. During this last semester we have to develop and realize a project independently. And fortunately, we have a lot of freedom there. I was in a volunteer course a few semesters ago. It was about creative campaigns and the professor connected us with one from the Bahnhofsmission am Zoo. He gave us input. We were allowed to come up with a creative campaign for the Bahnhofsmission during the course. That was when I got the idea to find people who would come to the Bahnhofsmission am Zoo as homeless people. Let them become artists themselves, so that they have the opportunity to show what they can do and be seen. That was catchy. I have a social vein and have worked a lot with children, but not so much in the area of poverty or homelessness. But once you’ve tasted a little bit of, I’d say, blood, and got into more social areas, then you have a drive like that. I did a voluntary social year in a crisis center. There you see an unbelievable amount and an unbelievable amount of formative things, also the view of our society and the problems are changing. It broadens your view of the world in which we are living. I grew up in Zehlendorf, I also went to school there. Somehow, the biggest dramas were that you could not afford the Longchamp bag. Sure, these are clichés, but some clichés are based on truths. And then you were dealing with sheltered people. To have such a contrasting program and to see that it is not always like that has influenced me and I have noticed that in such projects. When it came to developing creative campaigns… I often have a different view on it, because for me the human being and his story is more important than how successful we are now on Instagram. Which is of course not always optimal. But of course, it changes something.

Have homeless people been included in these creative campaigns, and have the campaigns been implemented?

Unfortunately, the campaigns were not implemented, it was more of a theoretical part. So it was more about the concept and the thought processes behind it. We were able to think about how much we really wanted to involve these people and how many and in what way, because there are still many points of contact. So as I just said, with people who live in a sheltered household. Not everyone in the course was so enthusiastic about the idea of sitting in a room with five homeless people.

If you want to work with a homeless person for your project, isn’t it possible that there is a lot of distrust? I imagine it’s difficult to convince people who are homeless for a project just like this.

I have to say that I have asked myself the same question. That is why I was quite fast at the point where I said: OK, I would like to work with the social workers there on site. With the individual case helpers on site, because they know their people and they know who might be interested. But I have to say that I spent a day as an assistant in the Bahnhofsmission am Zoo and you get a feeling for the ambience. For the tone that prevails there. And I went there once for an appointment, for example, I had an appointment with one of the social workers there and at the moment it’s very confusing where the entrance is. There was a group of men who said: what are you looking for? Do you need help? There was actually not much fear of contact from the other side. That’s why I’m relatively optimistic. I also went for a walk with a homeless man who helped me a bit and gave me some advice. The social worker there, with whom I am in contact, she told me very clearly whom I can already contact. Because it is a kind of network. You usually have a relatively regular clientele. Most of them are coming back again and again. That means that internal hierarchies are formed there and that means there are certain people who have more to say than others. From the outside, you don’t have a clue. But if you also have insiders and you get to know the people a little bit, get in touch with the right people, then you get such insights. I went for a walk with someone like that and he told me what could go well…, what could not go that well…, about what I have to pay attention to etc. I had the feeling that there is a lot more confidence in me than I would have thought.

How far have you progressed with the project, what is the current status?

There have been quite a few changes because of Corona. Corona makes everything more difficult. That means it was very, very difficult to find financing. But actually I am at the point where I have found someone who wants to finance the project – thanks to Freiberger & Collegen. Now I can buy the cameras I need for my project. I have to do everything relatively quickly with the clientele that I have to deal with. So from the moment I give the cameras to the 15 homeless people, so to speak, to the finished picture hanging on the wall. It can’ t take half a year. It must be a period of not more than two or three months. Three would almost be too much. Just to keep the 15 people in line. I have to prevent that it is simply lost in the life that the people lead. And the exhibition is only in March, because actually at this time, when winter comes, they have other problems. So they are really more concerned with getting through the winter and still being there next year. Beyond that I try to find further media partners. This is the phase I am in right now. So much planning – it’s just not the fun part yet.

How long do the people without shelter have the camera? In what period of time are you allowed to capture their view on things?

The plan is not really to say: Okay, it’s just one day. I just don’t want to make the time frame so tight, because I also really want to make them artists. I want to give them a chance, and creative freedom. If they can’t find inspiration in one place, they should be able to go to another. Just take their time for it.

How should the exhibition proceed?

I would like to address many different people, but the 15 artists will also be present at the opening. I think the exciting thing about the idea is that you can easily cover several things with it. Of course, it is exciting to participate in such a project and there are people who would simply do it voluntarily. But for many of them, there would be a little bit of a loan missing. That means you usually have to give them a financial incentive as well. In most projects they say that they will get vouchers from a supermarket. Because at least they can’t buy drugs with them. I personally prefer to give them self-responsibility. Of course I don’t want to support that, but I will say it in this way: a normal photographer could buy drugs as well, because he/she is free to decide how to spend the earned money. What matters here is really to treat them like artists. I don’t want to write on the picture or advertising for social reasons: We turn homeless people into artists. I want them to feel that way, too. I want them to feel valued. And another thing that I think is exciting is that when they are at this exhibition and they stand next to their pictures and say: Hey, do you want to buy my photograph? The plan is to let them decide the price for themselves first. Just to see how they rate themselves and what interested people would be willing to pay. Then automatically this confrontation between potential buyers and the people that this whole project is actually about happens. And I would like to see it happen in the center at the zoo. That’s exactly the meeting place to create a situation of talks and encounters.

You say that you would like to give the homeless people just that kind of courage. But I can imagine that you also have to give courage to the other side. So that they say: Okay, I’m going to face this now and I’m just going to get out of my bubble and take a look at it now. Maybe they are also afraid of it, because they don’t know how to act; how to interact with each other? Do you have something planned there, too?

These are good points. The Bahnhofsmission am Zoo is quite well hidden. That means it’s not super central in itself and it doesn’t happen very often that someone just happens to walk by by chance. That means you really have to advertise it more. Theoretically, the center is built in such a way that you have different rooms and can use them for different purposes. Universities or school classes can go there and ask questions. But there are also consultations for homeless people. My hope is that when you arrive there during regular activities, you will also experience life there. At the opening itself, it would be nice if the social workers were also present, because then the reports will be from different perspectives and you can interact with different people. In this way the possible “fear” on both sides is maybe reduced.

The interview was conducted by Carsten Jan Weichelt.

KMA Art Walk Video – Have a look

———— Filed under: Art
Tagged with: // // // // // //
Publ. 12.16.2020

In cooperation with the Berlin-based design studio Strollology, the ndi network of experts and the SRH University of Popular Arts (hdpk), a series of events was developed, the prelude to which was the Art Walk on popular Karl-Marx-Allee KMA Vision

Finally, the time has come. We are happy to proudly present our video of the KMA Art Walk here on Your Art Beat. So, what was the KMA Art Walk again? We have already told you about this event. Here you can read more about it. KMA Artwalk

Video and Composition by Lars Roth
KMA Song by Kaja Riedle & Paco Bose
Video Artwork by Linda Mögel

Stay healthy and see you soon!