Blickwinkel – by Sophia Vecchini

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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.

me.magritte – by Stefanie Rübensaal

———— Filed under: Art ⁄⁄ Digital ⁄⁄ photography
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Publ. 04.5.2020

Viva la Internet! Better said: Luckily there is Instagram. Corona makes it impossible for me to visit galleries at the moment. Thank God that Instagram is also a good platform for this because I’m looking there for artworks and video installations which I would like to share with you.

Today I present you: me.magritte – a video installation by Stefanie Rübensaal. Have a look at the video installation first and let it have an effect on you.

It is important for Stefanie Rübensaal to produce the idea for her video installation from out of the flow. “ Here it went very quickly from designing the graphic mask to photographing and installing the figure,“ she writes to me. She spent a day by the sea to record the video and in the end „the work is a digital collage of all the elements,“ she continues.

For me personally, the video work has something calming about it, but at the same time, it encourages me to think and reflect. There is something mysterious in it. Being at the sea and looking out to the open sea makes me melancholic sometimes. How do you feel about it?

Stefanie came up with the idea through „inner chaotic states“ – in times of Corona a state that many people are experiencing. “ Standing still, emptiness, upheaval, change, transformation. Where are we going? A moment of stop and questioning“, she explains, „To see the sea, but not to be at the sea. To walk along the sea in your mind and at the same time holding on to the protection of the umbrella.“ Also in the interpretation of dreams, the umbrella stands for protection and safety. A state of mind that many currently hope for.

Stefanie Rübensaal has a mixed relationship with video art: „On the one hand, I think a video is a cold working medium and product […]. On the other hand, videos (video collages) can be used to expand existing images and add an additional level of meaning to them. When this happens, I really enjoy the medium […]“, says Stefanie.

So if anyone would have liked to go to the seaside over Easter, this is a good alternative to explore the sea near to Rostock even when we are not allowed to travel actually.

Homepage Stefanie Rübensaal

Susanne Britz – Digitale Fotodrucke

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Publ. 03.23.2020

Same place, different artist.  I’m still at the Inselgalerie and visiting the exhibition „transformer“ because another artist is presenting her artwork here.

Susanne Britz has focused on photographs, pigment prints, and installations of everyday objects. The working process behind these works is exciting and is based on each other, so Susanne Britz runs through different phases during her creative process: it probably starts with an idea, then a spatial installation follows. Here she uses everyday objects from the household, sports equipment, tools from the studio or children’s toys. Once the installation is finished, she takes a photo of this work. Afterward, the photo gets digitally overdrawn.

Many of her artworks that are exhibited here seem like instructions to me, even if I am not sure for what exactly.  But if I am honest, it probably doesn’t matter.

I like the strong colors and the general idea behind this artwork. It‘ s funny to see all the things and to realize what you can do with everyday objects.

Usually, I would recommend a visit to the gallery, as the exhibition has been extended.  But nothing is normal these days: Unfortunately during the Corona COVID-19 Pandemic, it is not possible. If you are interested in the art of Susanne Britz, please have a look at her homepage or check the Instagram account of the Inselgalerie.

Homepage Inselgalerie Berlin
https://www.instagram.com/inselgalerieberlin/
Susanne Britz Homepage

#stayhome
#staysafe
#stayhealthy
#takecare

See you soon!

Carsten

Mia Hochrein – Fremde 1 & Fremde 2

———— Filed under: Art ⁄⁄ Artist ⁄⁄ Artwork ⁄⁄ creative writing ⁄⁄ Exhibition ⁄⁄ photography
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Publ. 03.10.2020

The artist Mia Hochrein works with many different tools for her art. She decides in the creation process which creative tools she uses for her work. As a result, she creates photographs and also installations or performances.

When I stood in front of these two photographs, it was instantly clear to me that I would write about them. Why? Well, let’s start:

Mia HochreinWhat do I see immediately? Two people wearing different textiles and always several of them. The textiles look like old towels, shirts, tablecloths or window curtains. In both pictures, the faces are covered. In my opinion, this gives the photographs anonymity and something mysterious.

Gender is also not directly interpretable. Is it the artist herself, or is it a woman and a man? The hands in the right picture seem a little more masculine, but the feet in the left picture seem more feminine. Perhaps this is too much stereotypical thinking. In the left photograph, the toes also point towards the wall. The rest of the body, however, appears as if the person is looking at me with his or her face. I start thinking and I have to find out what these photographs represent.

Mia HochreinI take a look at the titles of the photographs. They are called „Strangers 1“ and „Strangers 2“. The exhibition has the title „transformer“ and the gallery manager Eva Hübner tells me that the textiles are garments. Clothes that were once worn by the artist’s mother and grandmother. Several generations are thus connected, quite inconspicuously. Thus the photos express the following for me: Even if some of them are no longer with us, we still carry them with us throughout our lives.  They are a part of us.

Because of the anonymity, I can identify myself more easily with the basic idea. Do you?

The exhibition is on until 23 of march at Inselgalerie Berlin. Have a look!

YOUR ART BEAT EXHIBITION

———— Filed under: Allgemein ⁄⁄ analog ⁄⁄ Art ⁄⁄ Artist ⁄⁄ Artwork ⁄⁄ Design ⁄⁄ Digital ⁄⁄ Exhibition ⁄⁄ Market ⁄⁄ painting ⁄⁄ photography
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Publ. 01.21.2019

…where the digital becomes physical. Artists of the YOUR ART BEAT MARKET

-EXHIBITION – GROUP SHOW-

…where the digital becomes physical

is not only the moving motive behind the YOUR ART BEAT MARKET, now it also becomes an active program in a non-virtual form! For the first time, YOURARTBEAT is presenting its artists offline and exhibits the works that were previously only available for viewing and buying in the online shop.

In addition to a lovingly compiled and eclectic selection of original works, as well as specially produced art pieces, also a variety of materials are demonstrated with which we not only experiment and create alternative forms of artistic manifestation, but in particular transform the digital and media arts into physical shape.

Individual media contributions by the artists themselves not only open up new perspectives or give background information, they also enable a more personal encounter with the creators.

YOURARTBEAT look forward to an inspiring interplay of the polarizing textures of the digital-virtual and the analogue-physical, to the exploration of various materials and consistencies in combination with digital art and interactive media stations, creating personal approaches, highlighting and deepening specialized backgrounds.

During the two-week show, there will also be accompanying programs of virtual reality and audiovisual design.

 

Exhibition Opening: 14 Febuary 2019 – 7 PM

Duration: 15 to 28 Febuary 2019

Opening Hours: Monday to Friday: 4 to 8 PM // Saturday: 1 to 6 PM

Galerie Salon Halit Art – Kreuzbergstr. 72 – 10965 Berlin

 

Digital Collage, Mixed Media, Multimedia Installation, Photography, Fine Arts

  • Group show of the YOURARTBEAT Artists with original artworks and alternative productions of art pieces
  • Demonstration and exploration of a variety of materials used to give digital arts a physical medium
  • Interactive Media Stations with individual contributions of the artists themselves
  • Accompanying programs of Virtual Reality and Audiovisual Design

MEDIA

artconnect   II   creative-city-berlin   II   facebook event

VIDEO

Online Shop YOURARTBEAT Market   II   Official Exhibition Teaser

! Download the official Press Release here !

 

WIN THIS PHOTOGRAPHY SERIES

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Publ. 08.2.2018

WIN THIS WONDERFUL SERIES OF ARTPIECES!
(Artist: Imogen Davis)

We’re giving away this wonderful little photography series by our artist Imogen Davis. Each of the three pieces from the „My-Breath“ series is printed on high quality glass in A5 format.

How to participate? – Very easily! Just send us an email or Facebook message with the keyword: IMOGEN DAVIS

Emails to: (johanna@yourartbeat.de)

Facebook: YOURARTBEAT

The winner will be announced in August!

!!! DISCOVER MORE ON THE YOUR ART BEAT MARKET !!!

IMOGEN DAVIS – NEW YAB ARTIST

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Publ. 07.10.2018

I M O G E N   D A V I S

is a London-based photographer.

Artist statement: I use photography as a way of capturing and holding on to feelings that would otherwise escape my grasp. It’s a way of taking something like breath or the feeling of loss and sadness and holding on to it, making a photographic world of these immaterial things.

I believe that photography is used to capture moments of people’s lives, moments that would otherwise be lost in our memories forever, only to be manipulated and distorted by our own thoughts and other memories built on top, each overlapping and contorting the last. However, to document breath within photography is to capture something that is invisible. For these images I learned how to blow my own glass, making physical recreations of my breath that now have memories of their own.

PEER TO SPACE

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Publ. 09.13.2017

Peer to Space is a creative organisation focusing on young contemporary arts -especially digital and Internet art-. Tina Sauerländer is the founder of peer to space (2010) and has already curated exhibitions and shows in frame of reputable institutions like HeK (Haus der elektronischen Künste, Basel) or at POSITIONS (a yearly Berlin Art Fair).

But she curates online exhibitions, as well,

to increase the visibility of new ways of artistic expression,

to create an easy access & raise the people’s interest in art and

to bring new forms of creativity into our modern environment, to current channels and devices,

thereby she totally catches up the nower Zeitgeist. Pioneering…

Mermaids and unicorns is the name of peer to space’s latest online exhibition and deals with the blurry boarders of humans’ on- and off-screen reality, the perception and acceptance of new truths, the impermanence and evanescence of up-to-dateness.

 

Next to interdisciplinary exhibitions, workshops and other projects, peer to space presents new forms of expressions and approaches in young contemporary art. Similarly to the concept of YOURARTBEAT, peer to space also serves a platform for artistic exchange of knowledge and experience.

The intention of peer to space is defined by its name – it combines the structure of Peer to peer Networking with the ideas of space, freedom and openness to artistic expression.

Aside: Peer to peer networking (P2P) means computer-networks where several computers can work together equally – it is an offering and sharing of own, as well as the use of the others’ services, functions and resources.

 

Find Peer to Space on Facebook

Walls

———— Filed under: Art ⁄⁄ Artwork ⁄⁄ photography

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Publ. 06.5.2017

Posted by Isabelle Franz,
Passing those walls in Barcelone and Berlin, I was wondering about their different purposes. Definitions like „a continuous vertical brick or stone structure that encloses or divides an area of land” or “a thing regarded as a protective or restrictive barrier” are coming up. – A barrier, something dividing one from the other, protecting what’s inside or maybe what’s outside. But what are they reflecting? Do they show me what they protect or what they face? Are they a mirror of what they face right now – or an image of what they had faced over time? Or may be they show me what people behind them want me to think. Sometimes they seem to melt with the outside, with no reference to what they were built for.