Claudia Keuchel ist seit 2019 Fachreferentin für kulturelle Bildung der Stadt Gelsenkirchen. Zuvor war sie lange Jahre Kulturreferentin für freie Kultur und Kulturförderung der Stadt sowie im Kommunalen Kulturmanagement und in der Kulturförderung der Stadt Unna tätig. 2021 erhielt sie zum 4. Mal eine Auszeichnung und damit auch eine dreijährige Konzeptionsförderung durch das Land NRW für das Kommunale Gesamtkonzept Kulturelle Bildung der Stadt Gelsenkirchen.
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Following seven exciting modules on the topics of “Art Potentials”, “Theoretical Concepts and Discourses in Cultural Education”, “Strategies and Practice Formats”, “Cultural Education in School Contexts”, “Culture Management for Creators of Art in Cultural Education”, “Cultural Institutions as Places of Learning” and “Practice at documenta fifteen”, now, on the 15.07.2022, Module 8 introduces the conclusion of the certificate course.
How do I reliably and effectively impart knowledge I have acquired and my experiences to other artists? How can transfer be successful independently of a certain artist personality? What has changed in my attitude as an artist and mediator now that I have finished the course? The participants will be dealing with these and other questions from the 15.07.2022 on.
Fully in line with Train the trainer, in parallel to the last module and the conclusion of the course, the participants will be producing a series of information videos in the shape of webinars in order to record what has been learnt and pass it on to further course generations.
You can find further information on the other course modules heree.
Sociologist and musicologist Professor Dr Susanne Keuchel is Director of the “Akademie der Kulturellen Bildung des Bundes und des Landes e. V.” and Chair of the German Federation for Arts Education and Cultural Learning, reg. Ass. (BKJ). Between 1993 and 2013, she worked at the Centre for Cultural Research in Bonn, initially as a scholar, and from 2009 on as Managing Director.
In addition to empirical cultural research, her chief areas of activity are the application of new technologies in the field of culture, Cultural Education and diversity. Her responsibilities have included surveys for the 1st and 2nd Youth Cultural Barometer, for the Cultural Barometer 50+ and for the “InterKulturBarometer” (intercultural barometer). Furthermore, she is Honorary Professor at the University of Hildesheim’s Institute for Cultural Policy and lecturer at the “Hochschule für Musik und Theater” in Hamburg and is active in committees of social policy institutions.
juca works with art, education and mediation. juca has installed two public works in Rio de Janeiro, Brasil. juca studied Architecture at UFRJ, BR, and has a degree in Drawing from Camberwell College, London, UK. juca worked in 2020/21 at the Museum of Modern Art in Rio coordinating the Childhoods and Activations nucleum in the education department. From 2017 to 2022 as a teacher at Parquinho Lage and member of the teaching council of the Parque Lage Visual Arts School, also in Rio de Janeiro, BR. juca worked with the creation, development, educational content and training with mediators at the Busão exhibition, in 2021 in Rio de Janeiro. juca has participated in four residencies, in education, at ART OMI, in Hudson, New York US, the artist residency ABERTA, at Centro Municipal de Artes Helio Oiticica, in Rio de Janeiro BR, Ninho, at Terra Afefé, Bahia BR and Demonstra, in Lisbon, PT. juca is a non-binary person and works with this thinking not only in relation to gender, but in the deconstruction of binary thought processes. juca’s favorite collaborations are with children. juca is a part if CAMP, at documenta fifteen. In august 2022, juca is developing POOL, an open call residency for art educators in Portugal.
Teresa Torres de Eça: Artists in education – A landscape of connections and tensions
This reflection is about arts-based projects in or with communities, mapping a landscape throughout the questions of the Symposium. My notes about different models of programmes supporting artists in educational contexts are based on my observations in the World Alliance for Arts Education (WAAE) and International Society for Art Education ( InSEA). For the first section about programmes, I will present examples selected by members of the World Alliance for Arts Education: Big hART in Australia, Creatives in Schools in New Zealand, Arte en primera infancia in the city of Bogotá ( IDARTES), Expresarte in Peru (Ministry of Education), KACES in Korea (Korea Arts & Culture Education Service) and the Artist-In-School Scheme of the National Arts Council of Singapore. For the second section about effects and impact of the programmes, I will try to systematise expectations, objectives and desirable results in light of the UNESCO global agenda for education. I will conclude with some suggestions for strategies and participatory methodologies of working in the context of arts-based programmes for or with educational communities.
Dr. Naomi A. Haruna: Effectiveness of Artistic Interventions in educational and social contexts within an insurgency environment – A case of Internally Displaced Persons in some selected camps
Over the past decade, the insurgent group known as “Boko Haram” has consistently captured and exploited the people of Borno State, in Nigeria. One of the salient effects of Boko Haram’s activities is forced migration and displacement, which has set back the region decades in development, especially in terms of education and social interactions amongst the people of Maiduguri. Non-Governmental Organisations and the Government have invested a lot of effort and different strategies in advocating for social inclusion and cohesion within communities, especially among Internally Displaced Persons (IDPs) living within camps. There have been advocacies towards an inclusive and holistic approach in implementing developmental processes by revisiting the strength of media and artistic activities. This study uses positively reinforced visual illustrations for the purpose of promoting social inclusion amongst the IDPs and promoting retention in early learners among IDPs of all ages. Bearing in mind that a picture is posed idiomatically to be better than a thousand words, pictures are not only more effortless to recognise and process than words, but are also easier to recall especially during learning process (Devan, 2015). Two examples will be discussed which are centred around the use for artistic approaches for early child education and awareness creation on the importance of social cohesion and integration using an arts-based bottom-up approach. The IDPs participate in designing visual materials that will be used in sensitising the community and thus creating a suitable atmosphere for effective communication and discussion of issues that affect them. Using existing and documented data, the study identifies the peculiar challenges and conditions experienced by IDPs while living in camps and host communities, how they affect their survival strategies, rehabilitation processes and integration processes, and how the visuals designed can be used to advocate for a free, fair and egalitarian society.
Katarzyna Niziołek: Participatory Theatre and Social Research
“Participation” and “social impact” seem to be the catchphrases of the day when it comes to art, and social research as well. While participatory action research has already become a well-established practice in the world of qualitative methods in sociology, the so-called “social turn” has placed the arts closer to sociological concepts and methodology as a means of not only interpreting art, but also constructing artworks. These changes are opening new pathways for both sociologists and artists interested in working together and exploring the “in-between” areas of art, science and social involvement. One such niche is being occupied by participatory theatre – a wide array of diverse and largely innovative practices that create conducive contexts not only for interdisciplinary collaborations, but also for citizen participation.
As an academic sociologist, I have been exploring this area of theatrical production for almost a decade now, working in collaboration with playwrights and directors, observing the practice from the inside, looking for possibilities of exchange between participatory theatre and research. Hence, the lecture will focus on the projects we have developed together: “The Method of National Constellations” (2014–2016), “Prayer. A Common Theatre” (2016–2017), “Bieżenki” (2018), “Living Torpedoes” (2019) and “The Suitcase” (2021).
Using these participatory theatrical projects as examples, I intend to provide an empirically grounded and self-reflective insight into three distinct and at least to some extent original methodologies of direct audience/public engagement. Each of these can be referred to as a different role of the participant that one performs in the process: a protagonist (or content provider), a user (directed or animated by the artist in a theatrically constructed situation) or a co-creator of the theatrical piece (enjoying a certain degree of agency and autonomy).
The lecture will be completed with some notes on the possible research and social uses that such practices – via embodiment, empathy, imagination, and understanding, to mention but a few distinctive qualities – may effectively serve.
Katarzyna Niziołek is holder of a PhD title in sociology and assistant professor at the Institute of Sociology, the University of Białystok, Poland, as well as being a researcher into social art, theatre participation and the performative aspects of collective memory. She is author of numerous publications and conference presentations on those topics. Since 2005, she has worked on a non-profit basis for the University of Białytok Foundation (from 2008 to 2019 as President of the organisation, currently as Vice-president). She is the initiator and leader of the Social Art Workshop, a collective dedicated to combining social research with artistic practices and civic engagement. Within that framework, she has curated and produced participatory theatre projects, including: “The Method of National Constellations” (2014-2016), “Prayer. A Common Theatre” (2016-2017), “Bieżenki” (2018), “Living Torpedoes” (2019) and “The Suitcase” (2021). She also teaches socio-artistic workshops to students, researchers, educators and arts practitioners. Since 2016, she has been responsible for the programme of the University Cultural Centre.
Goethe-Institut Germany: Artistic work in social and educational contexts – national and regional projects and approaches of the Goethe-Institut
Artistic work in social and educational contexts: national and regional projects and approaches of the Goethe-Institut
Cultural education plays an important role in the work of all departments of the Goethe-Institut around the globe. Artistic projects within the areas of music, theatre, video, literature and other arts always take into account local traditions into account in the activities of the departments.
This presentation focuses on
a) artistic interventions within the context of German language acquisition mainly addressing youth at school in different countries
b) the use of art in cultural and political education projects in Germany as a new structure inside the Goethe-Institut for international cultural exchange
c) the support of artists in the mentorship project Hub@Goethe in Johannesburg and the embedding of artist in the project “Let’s Game Jam Art”, which is situated on VR Chat and connects artists and coders.
Marie-Therése Holzer works at the department “Bildung und Diskurse” at the Goethe-Institut in Munich, with a focus on projects of cultural education and civil society. She studied German studies, history and media culture studies at Ludwig-Maximilians-Universität.
Having completed her training as a bookseller with Süddeutsche Verlagsgesellschaft in Ulm/Donau, Stefanie Kastner studied library administration at the Hochschule für Bibliothek und Information in Stuttgart. Having headed the Public Library in Stadtlohn in Westphalia, she started working as a local staff member for the Goethe-Institut in Rotterdam. Afterwards, she was seconded head of the Information Departments in Algeria and Côte d’Ivoire before she became information and library head in Sao Paulo for the South American region. During this period, she acquired a Master of Media Research degree at the Hochschule der Medien in Stuttgart. Recently, Stefanie Kastner was responsible for the Region of Sub-Saharan Africa as head of information with a regional assignment (LIR) to Johannesburg. Her focal areas are the fields of Digital Literacy, Gaming, Metaverse, Cultural and Creative Economics and Promoting Reading.
Dr Katharina L. Ochse is responsible for Youth Education, including Cultural Education, at the Languages Department of the Goethe-Institut headquarters. She did her doctorate at Freie Universität Berlin (Cornell-University, Ithaca, NY.) and subsequently obtained a Master’s degree in school management and a Master’s degree in mediation ab. Until 2020, she headed the Goethe-Institut Montevideo. She had previously worked in the international culture and education field at the Deutsche Welle Akademie (for the Middle East/North Africa area), the Foreign Office (Cultural Affairs Department), the German Academic Exchange Service (Poland, Bosnia-Herzegovina, Bonn), the United Nations (Kosovo), Gesellschaft für Internationale Zusammenarbeit (GIZ), the Wissenschaftskolleg Berlin (for Bulgaria and Romania), the Freie Universität and Humboldt University Berlin.
Meriam Bousselmi – Montaigne’s head and Aesop’s tongue
In the Essays, Montaigne asserted that we must make the difference between a well-made head and a well-filled head. This is where all the art of education lies. He indeed subjected the education of his time to virulent criticism, and rejected the education system that produces “donkeys loaded with books”.
Which raises the question of transmission and, more precisely, what has to be transmitted and how? Because according to Montaigne, knowledge according to Montaigne must make us not “more learned” but “better learned”. Isn’t that the whole unteachable lesson by Aesop’s tongue?
Welcome to our Reading and Storytelling Club!
For one hour, you will be invited to participate in acts of unlearning and relearning through questioning the power of literature and theatre as transmission tools of a unique and non-pedagogical knowledge. Together, we will explore the potential of making and sharing different stories about self and others in order to avoid what the Nigerian novelist Chimamanda Ngozi Adichie calls “the danger of a single story”. From fiction to self-fiction, each narrative redefines the boundaries of the world and opens us up to new perceptions of what we call reality.
In her original essay “The Tale-tellers”, the Canadian writer Nancy Huston postulates that human reality is fiction. To be human is to have a story and to tell stories. Fictions are not superfluous. They are a life force.
Each writing/reading of a book or interpretation/performing of a play constitutes an exercise of narrative construction. Consequently, it’s about negotiating freedom, plurality and the right to be different and to have another understanding /perspective on the same thing. The artistic experience is therefore more than an entertainment activity. It is a way of transforming experience into consciousness. It’s an empowerment tool that is able to provoke a self-reflective approach and mental shift. Far from a didactic method incompatible with the undisciplined spirit of art, artistic transmission can only be done on the basis of a dialectical approach.
Giving taste, inspiring and initiating someone to the poetry, beauty and complexity of the world is not a codified and easy task to do. What are the possible learning strategies in this case? Can we base learning on dialogue and collective improvisation?
Join us to find out together how we can extend the territories of imagination and resilience!
Meriam Bousselmi is a writer, theatre-maker, lawyer, researcher and lecturer. In her literature and theatre workshops, she seeks to wake up the participants to the power of art. In 2015, she directed the workshop “Act of Justice” in the frame of Junges DT Herbst camp. Also in 2015, she led the workshop “Weltwand auf Französisch” with a hundred pupils from three Frankfurt schools (Liebigschule, Zügenschule and Lycée français) as part of the German-French Day – Institut franco-allemand de science historiques and socials. In 2019, she took part in the artistic direction of the theatre project “Der Beat der Planeten” offered for 13 children and teenagers from migrant backgrounds in Weinheim. Her work focused on bringing the participants to reflect their own biographies and their perceptions of in/justice through the interpretation of “The Little Prince” story by Saint- Exupéry. In 2020, together with the artist Miriam Lemdjadi, she designed and led a Theatre workshop series on poetry and empowerment, “Nur eine Rose als Stütze”, in Heidelberg and Frankfurt in collaboration with the Freunde Arabischer Kunst und Kultur e.V. and The International Women’s Theatre Festival (IWTF). Based on an interpretation of Hilde Domin’s poetic work and biography, they opened a space of exchange between different generations of women and examined together the female (mis)-(re)-presentations of self, others, home and belonging using a mixture of storytelling and theatre techniques. In 2021, she held a lecture under the title: “The Mergoum Protocol: Typically Tunisian, (A)typically German? On Cross-Cultural Exchange” in the context of CAMP notes on education organised by Documenta fifteen’s Education and Art Mediation Department.
Professor Dr habil Birgit Mandel is Professor for Cultural Management, Arts Education and Cultural Policy at Hildesheim University and head of MA programme Arts Mediation. She is Vice-president of the German Society for Cultural Policy (Kulturpolitische Gesellschaft), founding member and former president of the Association of Cultural Management at universities in Germany, Austria and Switzerland (Fachverband für Kulturmanagement in Forschung und Lehre), board member for the Berlin Arts and Festival Management board (Kulturprojekte GmbH) and board member of the Commerzbank Foundation Frankfurt a. M.
She did several research projects in the field of cultural participation, connecting cultural policy, arts education and mediation, audience development, and visitor and non-visitor studies for the arts. She is author of various publications on arts/cultural management and mediation.
Uta Plate is a theatre-maker, lecturer and producer. From 1999-2014, she was head theatre pedagogue at the Schaubühne Berlin.
Since 2014, Uta Plate has been working internationally as a freelance producer and lecturer. Her focal areas are: citizens’ theatre projects, documentary international research, inter-generative projects (particularly with refugees and locals) and drama activities with socially marginalised groups (particularly in the penal system).
She was involved in participatory film activities with Aaike Stuart: ‘Wir sind GESTERN HEUTE MORGEN’ (we are yesterday – today – tomorrow), ‘FERNE GEFÄHRTEN’ (distant companions).
In 2021, Uta Plate founded the HIATUS collective with musicians Duri Collenberg and Lukas Rickli, with whom she develops audio-video walks for the Bremen Opera and the ‘Musiktheater im Revier’ (Music Theatre in the Ruhr – MiR), Gelsenkirchen.
In addition, she teaches at universities in Berlin, Gießen, Hildesheim, Hanover, Copenhagen (Denmark) and Ouagadougou (Burkina Faso).
Publications (with Wiebke von Bernstorff): ‘Fremd bleiben – interkulturelle Theaterarbeit’ (staying a stranger – intercultural drama activities’).
Simon Kubat, born in 1990, studied vocal art and speech training at the state “Hochschule für Musik und Darstellende Kunst Stuttgart”. In 2016, he completed his studies with a Master of Arts in Vocal Art.
He works mainly as a performer, artistic assistant and organiser in the freelance theatre scene. He also runs workshops on drama, bodywork and text-work. Together with Jonas Bolle, he received the short radio play award “ARD PiNball 2013” for the radio play “Jahrestag auf Parkbank” (anniversary on a park bench). Since 2014, he has been creating dramas, radio plays, radio programmes, music and performative event formats with the “Citizen.KANE.Kollektiv”. As a performer and artistic assistant, he has participated in various productions, including in “Lokstoff! Theater im öffentlichen Raum” and “Figurenkombinat”.
What is your professional focus?
I work as a freelancer in the performing arts, conceptually and organisationally above all for and together with the “Citizen.KANE.Kollektiv”. We develop, organise and run performances, theatre plays, radio plays, radio programmes and other event formats. As a performer, I am actively involved in the Citizen.KANE.Kollektiv and other free groups and projects. In addition, I am a speaker, moderator, musician and workshop director.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I see the potentials of networking among individuals and groups working in art and communication between people with different artistic backgrounds and experiences.
Creators of art are usually active in several areas which more or less overlap. Often, this automatically leads to questions regarding how one’s own artistic practice can impact on society. So here it suggests itself to seek the link with Cultural Education and pedagogical and didactical concepts. I believe that sharing experiences with others is very valuable.
At the same time, creating art often bears an autodidactic dimension of trying things out which can successfully be transferred to common learning.
Which changes are needed at cultural policy or education policy level to strengthen the potentials of cooperation with artists for Cultural Education in Germany?
Broad-based support is needed for creators of culture providing low-threshold, highly diversified content. Access to support also has to be low-threshold. This can also mean encouraging large institutions to cooperate with a wide range of actors in the free scene – and supporting them in doing so – in commonly creating cultural education programmes. Ideally, the needs of society are directly addressed, resulting in places of culture being created to which everyone feels invited to take part and become involved in designing them.
Simon Kubat at “Artistic Interventions in Cultural Education”
Simon Kubat is participating as a lecturer in the context of the course in Module 6: “Cultural Institutions as Places of Learning”. If you have any questions or are interested in working with him, please contact zertifikatskurs [at] uni-hildesheim [dot] de
Christian Müller is a freelance producer who lives in Stuttgart. In addition to his activities with a wide range of municipal theatres, he above all realises free productions. He occasionally also works as an author, lecturer, radio moderator and podcast producer. He is interested in contemporary topics and in translating them into state-of-the-art theatrical formats.
Among other activities, he has produced theatre performances for the Junges Ensemble Stuttgart and the municipal theatres in Esslingen, Bremerhaven, Regensburg and Bielefeld. He realises Free Theatre Projects with the Citizen.KANE.Kollektiv. Venues his productions have been invited to include the festivals theaterszene europa (Cologne), Heidelberger Stückemarkt (Heidelberg), AUGENBLICK MAL! (Berlin), Sens Interdits (Lyon) and FESTin pe Bulevard (Bucharest).
What is your professional focus?
I regard myself as a theatre director, and I take a keen interest in interdisciplinary work. In addition to drama and performance, I work, for example, in the fields of puppet theatre and object theatre, musicals and digital theatre. Furthermore, I realise podcasts and programmes in the “Freies Radio für Stuttgart”. In terms of contents, topical issues are important to me which can then be dealt with in different formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
In my view, the course above all offers the opportunity to create a new definition of Cultural Education – as an integral element of artistic activities and their results. This is essential if one wants to clear obstacles and make art socially relevant. One should not have to impart art; rather, art ought to be able to impart itself.
Which changes are needed at cultural policy or education policy level to strengthen the potentials of cooperation with artists for Cultural Education in Germany?
In my opinion, the status of Free Artists and Groups has to be further enhanced. This is where innovative formats and new perspectives are developed. Free Artists have to be put on a par with institutions, not only in the sense of their enjoying equal esteem, but also, above all, financially. To this end, the free scene ought to communicate its outreach and its successes more clearly.
Christian Müller at “Artistic Interventions in Cultural Education”
Christian Müller is participating as a lecturer in the context of the course in Module 6: “Cultural Institutions as Places of Learning”. If you have any questions or are interested in working with him, please go to zertifikatskurs [at] uni-hildesheim [dot] de
Jan Hendrickse: Flute making workshop: Exploring intra-action through sound making
This session will combine practical experience and discussion. We will be spending time making a simple flute together; no previous experience is required. We will be discovering how we can use sound-making and listening as a way create connections with other people and with environments. Participants will be engaging in the activity as well as reflecting upon the process. In this way we will also be discussing modes of facilitation and decision-making. Through practical experience, we will explore the application of different modes of facilitation, and how to design open creative processes. The session will be relevant for those working in any medium. No musical experience is required.
Anne Helga Henning: Worldmaking through ornamenting
In my practice I want the participants to experience making a tactile and visual ornament together working in silence. The ornament will relate to natural found objects of the world that are composed on the table where the ornament-making will take place. During the session the participants will relate actively to the other participants moves in making the ornament in a different way than if they were able to speak with each other. So another way of “listening” and “speaking” to each other is required.
As no person will have a leading hand on the outcome of the ornament and how it relates to the objects will be unpredictable and open-ended. Which creates an interesting platform for discussing experiences that came up during the session. Assosiations, memories and fantasies that were triggered both as we moved along and as a response to the final visual outcome.
We will set off time to reflect and discuss all this.
After the performance workshop I will show a short movie called “We need a ladder!”
The movie is allso about listening closely to situations. I will show how I used my competence as an artist and atelierista to prepare for the group of co-researchers next step, which is always interesting and in many ways risky. In this case the group consisted of 3-year-old children exploring a specific architectural environment in my hometown.
AITSONA-DAITSONA: Creating Communal Stages – A workshop based on Aitsona-Daitsona’s theatre work with teachers and children in Georgia
AITSONA-DAITSONA is Georgia’s first emancipatory touring theatre for children and was founded by the artists and theatremakers Mareike Wenzel, Mariam Gabritchidze, Lily Mamulashvili and Natia Kavtaradze in 2017. Our aim is to establish and promote new emancipatory theatre for children and young people in Georgia as well as to create an inclusive and participatory platform for theatre and arts in education that reaches beyond the cities and into the Georgian regions. We see theatre as a powerful tool for change, empowerment and education, and as a social event, bringing people together and creating solidarity.
AITSONA-DAITSONA’s mission “A Stage For Everyone” is to make theatre and culture accessible to all and also to include all in creating theatre and art. We are working with children and young people horizontally, including them in decision-making processes and working with them, and not just for them. We take their ideas, problems and interests seriously, and try to find creative ways of discussing them together on stage and beyond. We want to reach and include children and young people who normally don’t have access to many cultural events and theatre performances, hence our special focus on the regions.
We not only perform plays, we also run theatre workshops for children and young people as well as for teachers. Our training programme for teachers offers a toolkit of inclusive theatre methods that can be used in different classes promoting creative, holistic and inclusive learning and teaching methods. In these workshops we give teachers different tools to include creative methods in classrooms and also devise own work with children. Together with the teachers, we try to rethink classical teaching and classroom structures, give space to unlearn them and develop new methods together.
After an introduction of our company, in our workshop at the Symposium, we will discuss our work and artistic approaches, and we will look more closely at different methods of participation and inclusion, and also at the pitfalls that this work bears. We will discuss the importance of the inclusion of teachers in our work and share our methods and strategies. There often is a notion in arts education that teachers are rather seen as an obstacle then allies when working as artists at schools. We want to challenge this view and discuss the importance of becoming allies with teachers and also working horizontally together with them towards new holistic forms of education.
In the first part of the workshop, we will give an overview of the different fields of our work and set the frame. In the second part, we will look at concrete exercises, work processes, methods and examples of our work and discuss the questions: Who are our allies? Where do we set the focus? Where to start and how to initiate participatory processes? Where are the limits? What are the different roles we have to take on? How to create an open and safe space?
The workshop will have a practical part in which the participants have the possibility to explore these questions in different exercises. We want to create a space to explore and exchange experiences together and create new visions for cultural education.
Dr Anton Kats: RA:DIO – All kinds of fires
The workshop facilitated by Anton Kats is shaped by the fundamental questions of transmission:
Driven by the questions of agency the workshop will consider radio as a medium of emergency reaching beyond a particular technological form. Exploring radio as a working social power expressing conditions of politics, culture and heart, the workshop will practically investigate trajectories of artistic practice in times of great intensity, conflicts and war.
The practitioners are invited to form an ensemble investigating listening as an overarching methodology of work. Invoking listening as a sonic strategy altering one’s own practice and uncertainty into a readable place, the workshop will draw on scientific methods of artistic research, performance, dance, music, improvisation, theatre, mediation and film in order to make these useful in the everyday context of artistic and agency-driven work.
David Garner – Socially Engaged Art from A to B
I intend to discuss two artworks that required the involvement of public intervention as part of their outcomes. A is for Aberfan is an installation referencing the Aberfan disaster, where the catastrophic collapse of a colliery spoil tip engulfed a primary school, and B for Defiance is an exact replication of the ‘Arbeit Macht Frei’ sign above the gates of Auschwitz. The inverted B in the word ARBEIT symbolises an act of defiance.
I want to give an insight into my working practice, materials, methods and the importance of public involvement and intervention to arrive at a conclusion.
Verena Melgarejo-Weinandt – Centering Artistic Mediation from a curatorial point of view: “Gloria E. Anzaldúa as method in decolonial art, art education and politics”
In my participative lecture I would like to present my educational work around the work of the decolonial and feminist pioneer Gloria E. Anzaldúa* and specifically her book „Borderlands/ La Frontera: The New Mestiza“ which I am translating together with the translation collective Chaka into German. Over the span of the last 7 years I was able to expand this translation practice into several formats, but the educational work with many other artists has been a major focus of this process and many workshops have been a site of Un/learing with and through Anzaldúas Methodology of Knowledge Production. I would like to present and discuss several concrete examples of these workshops and exchange on our knowledge/ experiences of un/learning though artistic practices following these questions:
Why is artistic educational (translation) work around Anzaldúa politically and spiritually relevant and necessary? How have marginalised voices and positions received Anzaldúa and fought for her dissemination in the German-speaking countries? Anzaldúa‘s knowledge production is based on knowledge that is based on lived experience, that arises in and from the chicana community, knowledge that is not institutionally anchored. What knowledge can be visible and localized locally with the help of Anzaldúa’s “tools”? How can we build bridges from Anzaldúa to other knowledge and positions?
*GLORIA E. ANZALDÚA (1942 – 2004) was a self-proclaimed “Chicana, tejana, from the working class, dyke-feminist poet, author-theorist”. Her book Borderlands/La Frontera shifts and complicates the concept of what is considered a border. Based on the history of the Mexican-American border, a geographical definition is expanded and presented not only as a violent but also as a potentially transforming space within which opposites, differences and paradoxes coexist, collide and enable change. Her work inspires artists, authors, researchers and activists through many generations. Her groundbreaking work is an important reference for people working with decolonial feminism(s), intersectional Queer Theory and Movements and indigenous Spirituality. Anzaldúa is one of the most important voices of the Chicanx Movement in the USA.
Prof Dr Ariane Berthoin Antal: The Highs and Lows of Conducting Meaningful Research on Artistic Interventions in Organizations
A wide range of stakeholders are interested in the findings of research on artistic interventions in organisations. So our research can be meaningful, in the sense of being useful – to artists, employees, managers, policy-makers and other researchers, for example. The diversity of interests can also cause problems: will our work be misused by one or more of the stakeholders? Before addressing these issues, however, we first need to be clear about what would make the research meaningful to us. This workshop will enable participants to clarify their own research objectives relating to artistic interventions in organisations and how to achieve them while also recognizing the interests of other stakeholders for their work. The workshop is to address different research methods and will involve an “artful” approach to developing and communicating research ideas.
Dr Tiina Kukkonen- Envisioning the Future of Artistic Interventions: From Research to Action
Artistic interventions require different types of supports and resources to ensure their success within educational and social contexts, such as adequate funding, strong leadership and community involvement. Assembling and developing such supports over time can be a challenge for those involved in the interventions (e.g. artists, schools, communities, organisations). In some cases, the partnerships formed between various supporting entities collapse and/or the necessary resources cannot be found, causing the artistic interventions to fizzle out.
In this participatory session, we will discuss strategies and visions for the sustainability of artistic interventions within educational and social contexts from the perspective of different stakeholder groups. We will draw on research and calls to action from Canada and around the world to inform our discussion and inspire future action.
Renata Cervetto: Archives in art and education – what, how and for whom?
During this workshop we will reflect on art and education archives in museums, galleries and other cultural spaces. The lack of habit in generating these materials speaks of a particular situation around the work of art mediators and their lack of visibility within the institution. Some of the questions that revolve around this issue are: Why create an art and education archive? Who would be its potential users? How can we manage, from within and as part of our roles, an archive that accounts not only for the projects, but also for the effects that were involved in each of them? What limitations do we find in doing that? How can we account for the way in which we worked with the community or group? How can we fight the lack of writing in education departments? During the first part of the workshop, some examples of this type of archives will be shared in order to visualise their possibilities in response to different contexts (institutional, artistic, community or public space). The second part will consist of a collective exercise where participants are to be split into smaller groups to propose an archive for their personal working contexts.
Renée Zako lives in Côte d’Ivoire, her country of origin. She holds a Master’s degree in cultural administration from the Institut National Supérieur des Arts et de l’Action Culturelle d’Abidjan. After graduating, she decided to respond to a crucial need in her country: to bring arts and culture closer to the people.
In the course of her activities, she was confronted with a real learning crisis of which the young people of her country were victims. Since then, with her association Les Associations Majuscules, she has been working to set up artistic and cultural centres, with a library in the neighbourhoods. Renée is also involved in politics to have access to decision-making positions in order to change things.
Access to quality education and the well-being and development of the population are the challenges she faces on a daily basis.
Jan is a performer, composer, researcher and educator. His research examines epistemic models adopted in creative practice. This has entailed the development of hybrid and transcultural approaches to practice and education as well as knowledge production and research.
He is both trained as a western Classical flute player and has studied several other flute traditions, including Turkish Ney, Chinese Xiao and Dizi as well as Rajasthani Satara and Alghoza. He teaches Turkish Ney at the Yunus Emre Institute in London as well as in private classes.
He works both as a contemporary artist and musician, receiving commissions for concert performance, installation works and contemporary dance scores, and as a performer and recording artist. He has performed with artists from electronic and freely improvised music, such as Mark Fell, Rian Treanor and David Toop, as well as featuring regularly as a soloist on traditional instruments for major film scores.
Jan teaches socially-engaged practice and practice-based research at the Guildhall School of Music & Drama and has also led creative projects for in communities around the world including Gambia, Thailand, Germany and Gaza and the West Bank.
He is experienced in facilitating conversations and interviews and has chaired discussions with the musicologist Georgina Born and artists Mark Fell, Michael Gordon and CC Hennix, amongst others. He has recently been invited to present his work at Simon Fraser University in Vancouver, ZKM in Karlsruhe as well as Trinity Laban in London.
Anne Helga Henning, born in 1968, lives and works as a visual artist in Trondheim, Norway. She was educated at The Academy of Fine Arts in Trondheim, and has a relevant further educational course as an atelierista from the Reggio Emilia institute in Stockholm, Sweden. This course brought forth her interest in collaboration through artistic interventions with various institutions such as kindergartens, schools and institutions addressing psychiatry, dementia care and, lately, refugees.
Henning’s research on how to create abstract visual compositions with people with dementia (Mønster, 2015) has received national attention. Through her collaboration with Svartlamon Kindergarten over the years 2007 -2017, the kindergarten won a national kindergarten award three times. In the years 2016-2021, Henning was involved in three public art assignments for schools and nursing homes, based on the participation of students and residents. In all these assignments, participation and meeting through artistic interventions with research groups over time has been important. This co -research consolidates a platform for the finalising process in her artist’s studio preparing for the final public artwork. Henning also employed a 50 per cent post associate professor in drawing at the Faculty of Architecture and Design, The Norwegian University of Science and Technology.
Mariam was born in 1992 and is a multimedia artist, actress and co-founder of the Georgian children theatre company Aitsona-Daitsona. After graduating with a BA in law from Georgian Technical University, she pursued a career as an artist and studied at the Centre of Contemporary Arts Tbilisi. She is currently doing her MA in graphic design at Tbilisi State Academy of Arts. Together with Mareike Wenzel and Lili Mamulashvili she founded the NGO and children theatre company Aitsona-Daitsona. She acts in all Aitsona-Daitsona’s plays, works as project manager and runs and devises workshops for children and teachers. Outside her work with Aitsona-Daitsona, Mariam is a professional artist. She works in various mediums of art, mostly in fine art, design and performance, and her works have been shown in solo and group exhibitions. She is also a member and co-founder of the feminist art collective “Gorgonas”.
Lili, born in 1992, is one of the co-founders of Aitsona-Daitsona, for which she works as an actress and educational programme manager. She is a cultural educator and has acquired a Bachelor’s degree in Psychology and a Master’s degree in Sociology of Culture and Media. She studies the representations of femininity in pop music. Lili acts in all of Aitsona-Daitsona’s plays and runs workshops for teacher and children. As Aitsona-Daitsona’s educational programme manager, she coordinates activities with schools and cultural centres and is part of the team devising the workshops. Lili also works as a journalist writing on feminism and pop culture. She has been hosting the feminist podcast “Femstream” together with the Boell Foundation and the Women’s Fund in Georgia.
Mareike, born in 1978, is an actress and theatre-maker and graduated with a BA(Hons) in Acting from Birmingham School of Acting in 2004. She has been a member of the performance company SIGNA since 2007 and has performed at various theatres and festivals all over Europe. In 2017, she founded the Georgian NGO and children’s theatre Aitsona-Daitsona together with Mariam Gabritchidze and Lili Mamulashvili with the aim to bring modern, emancipatory children’s theatre especially to the regions of Georgia. Mareike is Aitsona-Daitsona’s artistic director has directed all of Aitsona-Daitsona’s plays, and together with the team, she created the educational programme and runs theatre workshops for children and teachers.
Mareike’s focus is on narrative spaces and immersive performances. Her own performances have been invited to Tbilisi Triennial, Gallery Nectar Tbilisi, FLARE 15 Festival and others. She ran theatre workshops for organisations such as the Women’s Initiative Supporting Group Tbilisi, the Boell Foundation and Goethe Institute Georgia, DVV International and Civic Education Teacher’s Forum. She is currently a fellow at “Artistic Interventions in Cultural Education” of Hildesheim University.
Anton Kats (r. 1983 Kherson, Ukraine) is an artist, musician and dancer who is currently based on Earth. Anton’s practice derives from informal everyday relationships within a vibrant neighbourhood in Kherson, Ukraine, and is complemented through the necessity and pragmatics of self-legalisation in Europe via entering formal institutions of education. After attending Master’s programmes in Art in Context at the University of Arts Berlin and Interactive Media: Critical Theory and Practice at Goldsmiths College, University of London, Kats finalised his studies through a practice-based PhD at Goldsmiths. In 2016, Kats was invited to join the aneducation team of documenta14 as an artist, where he initiated the Narrowcast House and the A-Letheia projects. Kats is a lecturer and educator with experience in developing experimental academic curricula with the Weissensee School of Art, Berlin, and was a lecturer of Contextual Studies at Ravensbourne University in London and a guest lecturer at the New York University and Goldsmiths University of London. His works have been exhibited and performed in venues including the SAVVY Contemporary, Serpentine Galleries, Tate Modern, Tate Britain, Victoria and Albert Museum, the Showroom Gallery, Bergen Kunsthall, Kochi Muziris Biennale, Haus der Kulturen der Welt and the documenta 14 in Athens and Kassel, among others.
David Garner was born in Ebbw Vale, South Wales. He is an installation artist known for his use of found objects and overtly political themes. He studied at Newport and Cardiff College of Art and the Royal College, London where he received a scholarship to work in the RCA studio in Paris. Subsequently he returned to South Wales, with a desire to root his artistic practice there. He is one of Wales’ leading visual artists, having exhibited work alongside Louise Bourgeois, Jenny Holzer, Bill Viola and Mark Wallinger. In 2015, the National Museum & Galleries of Wales purchased Last Punch of the Clock for its contemporary collection. Garner became a successful recipient of the ACW Creative Wales Award, allowing him to broaden the medium in which he works, through exploring the possibilities of time-based media and their potential outcomes for his future work. As a result of this award, Garner staged Call and Response, an installation comprising a chandelier at the Chartist Cave, Trefil, Mynydd Llangynidr, and an improvised response from harp player Rhodri Davies, on the 20th August 2015. Garner was included in Tomorrow Today at ‘Created by Vienna’ 2015, a city festival of contemporary art which reflected on the interface between art and capital. He was shortlisted for Cymru yn Fenis Wales in the Venice 2019 Biennale di Venezia 58th International Art.
Verena Melgarejo Weinandt, born in 1986, is a German-Bolivian artist, curator, educator and researcher who intertwines her different fields of work. Artistically, she works with video-and photo-performances and installations, which often include textile elements. Her artistic works have been exhibited at the Museo de Arte Contemporaneo Salta/Argentina, at the nGbk Berlin/Germany, at the Wiener Festwochen Art Festival in Austria, and at the Biennial Sur Colombia and Argentina. She currently works at Central European University for the artistic-research project REPATRIATES. She has been teaching courses at the HzT-UdK Berlin, the Academy of Fine Arts Vienna and Berlin Weißensee.
Ariane Berthoin Antal has conducted extensive research on artistic interventions in organisations in France, Germany, Spain and Sweden. This work built on her previous research on organizational learning, business and society, and cross-cultural communication. She is Emerita Senior Fellow of the WZB Berlin Social Science Center, Germany, Honorary Professor of the Technische Universität Berlin and Distinguished Research Professor at Audencia School of Management, Nantes. Besides hundreds of articles, her recent books include Learning Organizations. Extending the Field (with P. Meusburger & L. Suarsana, Springer 2014); Moments of Valuation (with M. Hutter & D. Stark, OUP, 2015) and Artistic Interventions in Organizations: Research, Theory and Practice (with U. Johannson-Sköldberg & J. Woodilla, Routledge, 2016).
Dr Naomi Andrew Haruna holds a PhD in Cultural Sustainability from University of Maiduguri, an MA degree in Advertising and Marketing from Coventry University UK and a Bachelor’s degree in Creative Arts with a specialisation in Graphics from the University of Maiduguri. Her research interests include Peace Media, Cultural Sustainability, Development Communication and Gender Studies. Naomi is currently a Lecturer with the University of Maiduguri, Nigeria and also Coordinates the SDG Graduate School, “Performing Sustainability, Cultures and Development in West Africa”.
Tiina Kukkonen is a Finnish-Canadian visual artist, arts educator, and researcher. Through her work with organisations such as the Canadian Network for Arts and Learning and the English Language Arts Network, she has been involved with numerous research and advocacy initiatives aimed at increasing arts education awareness, appreciation and access. Her own doctoral research investigated the role of intermediaries in supporting arts education in rural and remote communities in Canada.
As an arts educator, Tiina has taught visual arts in K-12, university and community-based settings. She holds a Ph.D. in Education from Queen’s University, where she currently teaches visual arts education to aspiring educators. Tiina is also a member of the Kingston Fibre Artists and serves on the executive committee of the Canadian Society for Education through Art.
Renata Cervetto was born in Buenos Aires in 1985.She holds a degree in Art History (Universidad de Buenos Aires, 2011) and graduated from the curatorial programme at the Appel Arts Centre in Amsterdam (2013-2014). In 2014, she obtained the first Curatorial Fellowship granted by the Ammodo Foundation (NL), for which she researched artistic and curatorial practices in dialogue with pedagogy. This practical and theoretical work has been compiled in the book The Fellow Reader #1. On Boycotts, Censorship and Educational Practices (de Appel art centre, 2014). Between 2015 and 2018, she was Coordinator of the Education area of MALBA (Museo de Arte Latinoamericano de Buenos Aires). In 2016, she co-edited the publication Agítese antes de usar. Desplazamientos educativos, sociales y artísticos en América Latina, together with Miguel A. López (TEOR/éTica and MALBA. 2017). Between 2019 and 2020, she was curator of the 11th Berlin Biennale, The cracks begin within, together with Agustín Pérez Rubio, María Berríos and Lisette Lagnado. In March 2022, she was awarded one of MAR‘s research grants, where she investigates the dialogues developed during the last 15 years between Latin America and Spain around artistic-pedagogical practices. She currently lives and works in Madrid.
Teresa Torres de Eça is currently the coordinator the Research Centre in Arts Education and Community of the Portuguese Association of Teachers of Visual Expression and Communication (APECV) and collaborates with the CIAC Research Center in Arts and Communication /University of Algarve-Portugal. She was President of the International Society for Education Through Art – InSEA between 2014 -2019, and Chair of the Executive Forum of the World Alliance of Arts Education (WAAE) between May 2022 and May 2023. Her interests are focused on participatory action research, social engaged arts, inclusion, equality, ecofeminism, media and digital literacy, and arts education. She is co-editor of the Portuguese Journal of Art Education; and Principal Editor of the Ibero-American research journal on Education, Culture and Arts INVISIBILIDADES.
An event in the context of the University of Hildesheim’s Certificate Course “Artistic Interventions in Cultural Education”, sponsored by Stiftung Mercator
Friday, 8th July – Saturday, 9th July 2022 at the University of Hildesheim / Main Campus and Cultural Campus at the Domain of Marienburg
The Symposium addresses artists who are active in the field of Cultural Education and other social contexts, academics, students and practitioners in the areas of Cultural Education and Cultural Mediation as well as representatives of cultural and education institutions and administration. https://idw-online.de/mobile/de/news793359
Art bears a special potential for Cultural Education processes. Experiencing artistic principles and processes can stimulate inquisitiveness, independent and unconventional thought and action as well as one’s self-perception and that of one’s environment among children, youths and adults, and it can enhance experiencing one’s self-effectiveness and sensitise people towards complex societal contexts. The International Symposium seeks to make accessible and discuss knowledge and insights regarding cultural and education policy programmes in various countries, illustrate the diversity of international perspectives on goals, potentials and impacts of artistic interventions in educational contexts and offer participants the opportunity to experience various artistic concepts and strategies for working in different social and educational contexts in practical workshops run by artists.
You can find more information on the Symposium here.
Course co-founder Birgit Mandel published a specialist article on the contents of the Certificate Course: Artistic Interventions – Potentials for Cultural Education in kubi online this week.
Abstract
It has been emphasised again and again that art bears special potentials with which it can intervene in various societal contexts, ideally triggering changes with an educational impact at both individual and institutional level. This article examines more closely with which approaches art operates, especially in cultural education contexts. The pilot course “Artistic Interventions in Cultural Education”, which was developed by the author herself, provides the background for this. The concept of Cultural Intervention focuses on the independence of art, which develops an impact precisely because it does not adapt to the usual modes of working and to conventions. The aim of the pilot course is to support artists in developing methods based on their own artistic work which provide scope for the ideas of the participants without forfeiting their own independence as artists. Consistently conceiving Cultural Education from the angle of art while simultaneously developing an interest in and understanding of the logics of other institutions and life-worlds can contribute to making art have an impact beyond art itself.
Funding for this qualification programme for artists in Cultural Education is being provided by Stiftung Mercator, which in doing so has completed its long-standing engagement in Cultural Education.
The full article is here.
Following five exciting modules on the thematic foci of “Potentials of Art”, “Theoretical Concepts and Discourses in Cultural Education”, “Strategies and Practice Formats”, “Cultural Education in School Contexts” and “Culture Management for Creators of Art in Cultural Education”, Module 6 starts on the 11.03.2022 with impulses on Cultural Institutions as Places of Learning.
The module will be moderated by course co-founder Mona Marijke Jas, who has been an Honorary Professor at weißensee kunsthochschule berlin since 2015. Among other functions, she was Faculty Member at documenta 14 in Kassel and Athens in 2017 and headed (Ver-)Mittlung (mediation/communication) at the 10th Berlin Biennale 2018. She is currently also teaching at the University of Hildesheim in the field of Cultural Education and Communication of Art. Her research focus is the artistic communication of contemporary fine art and biennales. We look forward to Module 6 with Mona Jas.
After four exciting modules on the thematic foci of “Potentials of Art”, “Theoretical Concepts and Discourses in Cultural Education”, “Strategies and Practice Formats” and “Cultural Education in School Contexts”, Module 5 starts on the 11.03.2022 with impulses on “Culture Management for Creators of Art in Cultural Education”.
Following the last two digital modules, after a long time, this module has once again been held at the Federal Academy for Cultural Education in Wolfenbüttel. The participants were given inputs on the various fields of culture management. Moderator Birgit Mandel gave an introduction to the thematic field. Among the lecturers, Siglinde Lang presented the topic of Participatory Culture Management, while Thomas Renz provided details on tax basics in culture management. In the afternoon on Saturday, Helle Becker lectured in a hybrid format on the practice fields of Cultural Education. Nicola Scherer followed with an input on the trend topics of “Cultural Entrepreneurship and Leadership”. Sophia Pompèry concluded the event with a presentation on orientation in the area of funding.
You can find an overview of the lecturers for all modules here.
Information in english will follow soon.
Siglinde Lang is active as a freelance cultural scientist, lecturer and curator with her Büro für künstlerisch wissenschaftliche Praxis (https://buero-kwp.net). She has taught at various universities, is an author of publications on ‘Participatory Culture Management’, ‘Artistic-Cultural Entrepreneurship’ or ‘Art in Rural Regions’. Since 2015, she has also been increasingly active as a freelance curator and cultural policy consultant, and in addition, since 2021, as an Assistant Professor at the Institute for Art in Contemporary Contexts and Media at the Catholic Private University Linz in Austria.
What is your professional focus?
My professional work and research foci are participatory and decentralised cultural projects in the contemporary art sector.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
Art still receives too little appreciation as a trans-disciplinary resource in society. Artistic interventions are a significant approach to actively make use of this potential – for example in urban planning, regional development or also to address ecological challenges.
Which changes are needed at cultural policy or education policy level to strengthen the potentials of cooperation with artists for Cultural Education in Germany?
Trans-disciplinary approaches and models to realise them are needed at all levels.
Siglinde Lang at “Artistic Interventions in Cultural Education”
Siglinde Lang is participating as a lecturer in the context of the course in Module 5: “Culture Management for Creators of Art in Cultural Education”. If you have any questions or are interested in working with her, please go to zertifikatskurs [at] uni-hildesheim [dot] de
Following four exciting modules on the thematic foci of “Potentials of Art”, “Theoretical Concepts and Discourses in Cultural Education”, “Strategies and Practice Formats” and “Cultural Education in School Contexts”, Module 5 starts on the 11.03.2022 with impulses on “Culture Management for Creators of Art in Cultural Education”.
The Module will be moderated by course co-founder Birgit Mandel. In addition to being project head of the course, Birgit Mandel (born in 1963) works as a Professor of Culture Communication and Culture Management at the University of Hildesheim, where she heads the Masters Programme on Cultural Mediation. She is Vice-President of the Kulturpolitische Gesellschaft, a member of the Commerzbank Foundation board of trustees, for which she developed the “ZukunftsGut” award for institutional communicating of culture, as well as a member of the supervisory board of Berlin Kulturprojekte GmbH. She has conducted a wide range of research projects at the interface of culture communication, audience development and cultural policy.
We look forward to Module 5 with Birgit Mandel.
Sophia Pompéry (*1984, artist) supports other creative individuals in strengthening their aplomb in their careers, based on her own practical experience. She studied sculpture under Karin Sander and Antje Majewski at Weißensee School of Art and Design in Berlin and under Olafur Eliasson at the Institute for Spatial Experiments at Berlin University of the Arts. Venues her work has been presented at include the Stedelijk Museum, Marta Herford, the Museum of Contemporary Art Tokyo, the New National Galerie Berlin, the Nassauischer Kunstverein Wiesbaden and Hamburger Bahnhof Berlin. In addition to her activities as an artist, which recently brought her as a Berlin Art Academy Fellow to the Villa Serpentara near Rome, she has been a regular member of juries and lectures at a wide range of institutions. From 2017 to 2021, she directed the See-up Programme on creative and entrepreneurial qualification at Weißensee School of Art and Design in Berlin, where she continues to teach.
What is your professional focus?
Since I am both a lecturer and an artist, I have two focal professional areas. As a lecturer, I question things and talk about them. If the “society of control” (Gilles Deleuze) is to turn into a civil society of sovereign actors, I feel there is an urgent need to discuss artistic “attitude”. What are the conditions our activities are based on, and how can we realise freedom? In order to reflect upon this, one has to strip things of their commonness. Measuring the world is based on conventions, and it is up to us to either accept or reject the tools for this purpose – or to handle it in an entirely different way.
As an artist, I transform what is believed to be familiar, such as everyday objects and measuring instruments, into parables at the interface of art, physics and philosophy.
Yardsticks have different lengths, whereas the photographic bulb exposure of a children’s globe reduces everything to zero and shines white. How many metres more of the sea are two degrees Celsius? Establishing the epochal impact of the climate crisis from a subjective perspective may be existential, but it is virtually impossible. Capturing this fragility of human scales is what I aim for.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
The certificate course contributes to enabling the practicing of art to have a greater impact on the world. Multifaceted, open learning environments are created with it which provide interdisciplinary exchange forums and generate unexpected ideas. This type of Cultural Education creates fertile ground for synergies and intermeshing among various disciplines at a very personal level.
Which changes are needed at cultural policy or education policy level to strengthen the potentials of cooperation with artists for Cultural Education in Germany?
The insight is needed that the greatest natural resource which this country can supply is in the heads of school pupils, and that this treasure needs to be tended. The distribution of power, the climate crisis, structural weakness of public institutions, digitalisation, etc. – at several levels, society is changing, and the future is marked by uncertainty. The future reality will then be different from what has been planned – rendering one’s studies obsolescent. The only answer to this field of tension is flexibility, inquisitiveness and openness – fields in which artists can offer special expertise.
Sophia Pompéry at “Artistic Interventions in Cultural Education”
Sophia Pompéry is participating as a lecturer in the context of the course in Module 5: “Culture Management for Creators of Art in Cultural Education”. If you have any questions or are interested in working with her, please go to zertifikatskurs [at] uni-hildesheim [dot] de
Dr Helle Becker studied German language and literature as well as English language and literature, drama, art history, media and education, and subsequently did her doctorate in education (education theory). Until 1992, she was an academic assistant at Westphalian Wilhelms University of Münster, and in 1992, she became Head of the International Department at the German Federation for Arts Education and Cultural Learning, reg. Ass. (BKJ). Since 1995, she has been Head of Expertise & Kommunikation für Bildung, and since 2014, furthermore, Managing Director of “Transfer für Bildung e. V.” In addition, she has teaching assignments at numerous universities: Westphalian Wilhelms University of Münster, University of Köln, Hagen Distance Learning University, Hochschule Niederrhein/Mönchengladbach University of Applied Sciences, Free University of Bozen-Bolzano, University of Luxembourg, Hochschule Osnabrück University of Applied Sciences, Technische Hochschule Köln, University of Hildesheim.
What is your professional focus?
I research, teach and mediate in the fields of Cultural, Political and International Education. My two organisations – Expertise & Kommunikation für Bildung and Transfer für Bildung e. V. – specialise in applied research and making it useful for practice.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
If collaborative schemes at individual and systemic level are regarded as key conditions for a better provision of Cultural Education, then the actors in these ventures have to be qualified for them. Above all, it must become clear that very different professions bringing with them different skills and notions of Cultural Education encounter one another in collaborative schemes. Here I see the certificate course holding useful potentials. Moreover, qualification programmes are few and far between. In my study “Qualifizierungen zu Kooperativität und Interprofessionalität im Schnittfeld Kultur und Schule. Konzepte, Angebote” (qualifying for cooperativeness and inter-professionalism in the intersection of culture and school – concepts and programmes), I was able to establish that there are virtually no further education programmes addressing collaborative schemes with non-school partners in Cultural Education. And things are no better for other actors, such as artists.
Which changes are needed at cultural policy or education policy level to strengthen the potentials of cooperation with artists for Cultural Education in Germany?
Since the 1980s at the latest, collaboration among organisers of non-school Cultural Education and artists has been commonplace. Apart from this area still being underfunded, I see little to catch up on. As a rule, coordination and qualification are performed within these collaborative schemes. What is new is schools cooperating with artists and cultural institutions. I find that such activities are still difficult. As soon as the employment of artists serves the purpose of providing substitutes for lessons, all potential has been wasted. In no circumstances do I agree with understanding artists per se as cultural educators. Rather, this is a qualification in its own right. Like other existing qualifications, it ought to enjoy more acceptance at cultural and education policy level, which would constitute a step towards providing more – above all pedagogical – qualifications.
Helle Becker at “Artistic Interventions in Cultural Education”
Helle Becker is participating as a lecturer in the context of the course in Module 5: “Culture Management for Creators of Art in Cultural Education”. If you have any questions or are interested in working with her, please contact zertifikatskurs [at] uni-hildesheim [dot] de
The fourth “Module of Artistic Interventions in Cultural Education” was held from the 28.01.202 to the 30.01.2022. Owing to the current COVID-19 situation, the Module was transferred to a digital environment, just like the previous one. In terms of content, the Module addressed key issues such as “What makes school a culture location?” or “How can I sustainably contribute my expertise as an artist to schools?”
The Module was moderated by Friederike Schönhuth. Friederike Schönhuth was the Official Adviser on the Fine Arts and Curator of the “ars viva” award at the Association of Arts and Culture of the German Economy at the Federation of German Industries, reg. Ass. (BDI) and headed the Cultural Education Department of the “Stiftung Nantesbuch”. For the last five years, she has been working for the Crespo Foundation, where, as Head of Department, “Aesthetic Education and Art”, she is now responsible for developing and expanding existing programmes in her field. Friederike Schönhuth acted as a guide and motivator for the participants in the intensive programme. For example, Tom Braun offered a general overview of the topic of “School and Cultural Education”. Ursula Rogg gave a concrete perspective of being in a school context as an artist. Alexandra Kersten and Saskia Köhler provided input on “Collaborative Schemes at and with Schools”. Magdalena von Rudy and Nicole Berner of KLAUS presented insights into the topic of “Artists in Residence” at schools.
An overview of all lecturers so far can be found here.
Professor Dr Nicole Berner (*1981) studied art pedagogics, psychology and general pedagogics. In 2013, she obtained a doctoral degree, having researched the topic of artistic creativeness at primary school age. Since 2016, she has been a professor of art pedagogics and art didactics at the School of Education of the University of Applied Sciences and Arts Northwestern Switzerland, where she has the professorial chair of didactics in art and design at the Institute for the Secondary School Level I and II. She was previously a Junior Professor at the Alanus University of Arts and Social Sciences in Germany, where she headed the “Kunstlabor an und mit Schulen” (KLAUS for short – art laboratory for and with schools) and headed scientific support of the trial model. Her research concentrates on issues of promoting creativity and on the quality of artistic teaching and learning processes in the school and extra-school fields. In addition to her academic work, she has so far pursued various classroom and teaching activities at primary and upper secondary schools, in extra-school education for youths and adults and in further education and training for teachers.
What is your professional focus?
As an art pedagogue, I engage in research and teach in the field of art education. Here, my teaching and research activities focus on the subject and subject didactical professionalisation of teachers in the school sector.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
Extracurricular art projects with artists at schools make an important contribution to the cultural participation of all pupils and offer an opportunity for interdisciplinary learning. Here, I think it is important for artists working at schools to address mediation issues, reflect their action in pedagogical contexts and develop their professional skills. This is where the certificate course can provide support and add to a honing of one’s own artistic and pedagogical profile.
Which changes are needed at cultural policy or education policy level to strengthen the potentials of cooperation with artists for Cultural Education in Germany?
In the school context, a much greater effort has to be made by the institutions and the artists to identify common ground and understand each other. Today’s school system is in need of reform regarding its structure, and unfortunately, it does not always support the personal engagement of many who play an active role in it. All this calls for flexible structures, openness and esteem in order to enable the respective potentials of working together with artists to develop to the full.
Nicole Berner at “Artistic Interventions in Cultural Education”
Nicole Berner is taking part in the course framework as a lecturer in Module 4: “Cultural Education in school contexts”. Furthermore, Nicole Berner, together with Magdalena von Rudy, is also represented in the certificate course as a project partner with KLAUS – Kunstlabor an und mit Schulen. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Magdalena von Rudy is a freelance artist who concentrates on video art. She studied at “Kunstakademie Düsseldorf”, under Professor Anthony Cragg. Since 2001, in parallel to her artistic activities, she has been working in the field of Cultural Education. From 2016 to 2018, she was an Artist in Residence in the project “Kunstlabore” (art laboratories) run by MUTIK gGmbH, the Mercator Foundation, Alanus University of Arts and Social Sciences and the University of Applied Sciences and Arts Northwestern Switzerland. Previously, she was Visiting Professor at Wladyslaw-Strzemiński Art Academy in Lodz (Poland) and had teaching assignments at the University of Wuppertal and Hochschule Düsseldorf – University of Applied Sciences. Among other distinctions she has earned, she is winner of the 12th Marl Video Art Prize and a Fellow of the “Film- und Medienstiftung NRW” and the “Kunststiftung NRW”.
What is your professional focus?
My professional focus is on the field of video art, and in parallel the field of art and Cultural Education with an emphasis on inter-mediality.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
One of the biggest potentials is to create a network of participants throughout Germany and the collaborative schemes and mutual inspiration which this can generate. The chance to run a practical project at this year’s DOKUMENTA is another great opportunity for the participants. The certificate course enables the honing, strengthening and reflecting of one’s own artistic and pedagogical positions in the field of Cultural Education.
Which changes are needed at cultural policy or education policy level to strengthen the potentials of cooperation with artists for Cultural Education in Germany?
In order to strengthen the potential of cooperation, we need low-threshold access to financial support; boosting process-oriented, participatory work which seeks to be open-minded regarding final outcomes. Viewed from a structural angle, it would be necessary to consider the living conditions of freelance artists. One important factor is the remuneration of the entire time effort, including preparations, travel time, etc.
Magdalena von Rudy at “Artistic Interventions in Cultural Education”
Magdalena von Rudy is taking part in the course framework as a lecturer in Module 4: “Cultural Education in school contexts”. Furthermore, Magdalena von Rudy, together with Nicole Berner, is also represented in the certificate course as a project partner with KLAUS – Kunstlabor an und mit Schulen. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Following three exciting modules on the focal topics of “Potentials of Art”, “Theoretical Concepts and Discourses” and “Strategies and Practice Formats”, Module 4 starts on the 28.01.2022, giving impulses on “Cultural Education in School Contexts”. What turns school into a cultural location? How can I sustainably contribute my expertise as an artist to schools?
This time, the pilot course “Artistic Interventions in Cultural Education” run by the University of Hildesheim’s Department of Cultural Policy is not being held at the Federal Academy for Cultural Education in Wolfenbüttel. Owing to the current increase in the number of COVID-19 cases, the team have decided to also stage this Module in a digital format.
Among those invited to this Module are the partners in practice who will be presenting in-depth units in a digital environment.
You can find more information on the Modules of the Certificate Course here.
Since 2011/2012, Alexandra Kersten has been working as a teacher at Heinz-Brandt-Schule Berlin-Weißensee, which is an integrated secondary school. She had previously taught at a “Hauptschule” (a type of primary school) in Berlin-Neukölln. She studied art, German and education science at “Christian-Albrechts-Universität zu Kiel” (Kiel University) and “Europa-Universität Flensburg”, and holds a qualification to teach both ethics and performing arts at a university.
She is presently form mistress of a 9th form class, cultural commissioner in the context of the Berlin City State programme “Kulturagenten Kreative Schulen” (cultural agents creative schools) and, above all, head of department for cultural education at Heinz-Brandt-Schule, and thus at the interface between school development and collaborative schemes with creators of art and culture.
What is your professional focus?
In addition to teaching, my professional focus is the working out and developing of scenarios for lessons and school structures which promote, enable and support Cultural Education. In addition to good networking and collaborative schemes, this requires formats with well-trained external staff in multi-professional teams which can be experienced anew again and again.
So in my opinion, the catchwords of the “4K Model”, “Kommunikation (communication), “Kollaboration” (collaboration), “Kreativität” (creativeness) and “Kritisches Denken” (critical thought) happen to be those which schools now have to intensively address. I hold the notion that school does not need short-term projects but lasting free scope to act in where pupils can research topics and issues. Space and time, individual support and common, inquisitive learning are what is called for.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
Schools need settings allowing pupils to discover topics individually, train cross-cutting skills and regard themselves as well as their own learning and creative action as significant.
Promoting creativeness at least calls for relatively free spaces to move in which offer scope for novelties and are free from concepts of order. So options have to be provided allowing pupils to be creative while imparting them with knowledge and skills they need to be able to put this creativeness into practice. It is important to understand “diversions” in artistic practice as “a better knowledge of one’s whereabouts”. It is at this interface where I see the certificate course – as a link above all addressing artists and becoming effective in schools.
Which changes are needed at cultural policy or education policy level to strengthen the potentials of cooperation with artists for Cultural Education in Germany?
More freedom, more autonomy for schools and more trust on the part of society as a whole is needed in all areas. Schools ought to be given the opportunity to freely recruit multi-professional teams, guided by their own profile. Here, it is important not only to strengthen the “classic” creative subjects, but also to consider the options which Cultural Education offers in other “subjects”.
Schools need time and good staff to enter, try out, adapt, evaluate and newly locate collaborative schemes. At the same time, they must have money to fund such ventures and to simultaneously attract external creators of art and culture. Time as well as funding structures have to be conceived as more open, simpler and more easily accessible to all.
The bottom line is time, money and engagement for one’s own action.
Alexandra Kersten at “Artistic Interventions in Cultural Education”
Alexandra Kersten is taking part in the course framework as a lecturer in Module 4: “Cultural Education in school contexts”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de.
The third module of “Artistic Interventions in Cultural Education” was held from the 10.12.2021 to the 11.12.2021. Owing to the current COVID-19 situation, the Module was transferred to digital space. At least at content level, the format takes up one of the key issues: “How can digital methods enrich activities in Cultural Education?”
But what does a module actually look like in a digital environment? The following blog entry presents three of our strategies for successful digital seminars:
Aesthetic practice units
Just like in an analogue space, we started off the individual days of the Module with small aesthetic practice units. For example, on Saturday morning, Lisa Haucke (link) headed a digital body workshop in order to promote a little physical variety in front of the PC. On Friday, our fellow Lucia Matzke started off with a 15-minute dancing unit incorporating both the body and the private environment of one’s own home. Exercises such as “Dance a Fork” liven up both the atmosphere and one’s own body and work wonders in a digital environment.
Digital Art
Video conference portals such as Zoom or BBB offer a wide range of opportunities for creative participation. For example, we were able to use the drawing tool in a split display in order to create a little artistic intervention together.
GatherTown
Despite group activities via breakout sessions, informal chats taking place in the presence of one another cannot be fully implemented in digital space. Additional time slots have to be created in the programme for talks of this nature. Towards the end of our Module, on the platform GatherTown, we set up a communication room. GatherTown is a free-of-charge tool with which real environments can be digitally modelled and where people can get together. In our case, the informal chats took place in a digitally modelled Federal Academy.
Ursula Rogg studied free art and art pedagogics in Munich and London. She then worked as a freelance photographic artist and performer in a women’s collective. Furthermore, for ten years, she ws a teacher at so-called hotspot schools in Berlin, a topic she wrote an essay about which drew much attention. In parallel to this, the “KontextSchule” evolved – a practice and discourse laboratory for teachers and artists. A pilot project for schools in regions with poor infrastructure in Brandenburg in which aesthetic learning strategies were implemented in all subjects formed the research framework for her PhD thesis at the “Bauhaus Universität Weimar”. Since 2021, as a professor, Ursula Rogg has headed a class for lateral recruits at the Munich Academy of Fine Arts.
What is your professional focus?
As an artist and author, I set out in my texts, photos, performances and radio plays from documentary records. Here, I focus on two fields: aesthetic practices and traditions in peripheral areas and materialist and atmospheric conditions of learning and teaching at schools. In processing and mounting the material, I work out certain perspectives of reality, highlighting their kaleidoscopic diversity; here, universal aspects are just as important to me as the poetic dimension.
As a pedagogue and mediator I develop – often and with pleasure together with others – scenarios, scores and material for interventions and aesthetic activities in an educational context, concentrating in particular on the mutual links between theory and practice.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
Understood as everyday life research and comprehensive educational practice, Cultural Education places the lifeworld of the child or other addressees centre stage. Here, it is particularly important to view the aesthetic languages of a society as part of a process of permanent transition and explore them with regard to their medial and formal as well as social and hegemonial content.
In this context, art often represents a “special case”. It frequently addresses what is outside everyday life, what is in its interior, and perhaps also what seems bizarre, and again and again generates different questions, manifestations and statements. In educational contexts, its properties both of ambiguity while achieving a high level of concreteness and of sensuality and physicality while keeping at a large distance continue to be focused on too little, despite their accounting for an essential aspect of human existence. The work of artists at schools opens up opportunities for common productivity and relevant search activities the success of which lies in finding what one was previously not looking for.
My aim is to make artists taking part aware of the skills and potentials they are already bringing along from their own artistic activities. I explain the dimension which two questions can assume in artistic mediation work. Why and what for lead to such a wealth of questions and possible answers that the basis these provide is sufficient to address contemporary artistic learning and teaching practice. So things aren’t really that difficult – and at the same time, regarding an understanding of education processes as “science fiction”, the task assumes enormous dimensions.
Ursula Rogg at “Artistic Interventions in Cultural Education”
Ursula Rogg is taking part in the course framework as a lecturer in Module 4: “Cultural Education in school contexts”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de.
Susanne Rehm has been Managing Director of the Baden-Württemberg Association for Cultural Youth Education (LKJ) since 2015. The LKJ implements programmes and projects in cultural and media-assisted youth education and is the state-wide umbrella association and special interest group for cultural education involving children and youths. Before becoming Managing Director of the LKJ Baden-Württemberg, Rehm had headed the state-level office “Cultural Agents for Creative Schools” in Baden-Württemberg. Here, she was able to put her wide range of experience to use which she had previously gathered as a free-lance theatre pedagogue, producer and cultural manager. She had also studied drama, film and television studies, art history and English language and literature in Bochum und Dublin.
What is your professional focus?
As Managing Director of the Baden-Württemberg Association for Cultural Youth Education, I represent the entire field of extra-school Cultural Education in Baden-Württemberg vis-à-vis politics, administration and the public. In order to be able to fulfil this task well, it is important for me to be closely in touch with the various groups of actors in this field. Another concern of mine is to promote development of Cultural Education as a subject area. For this purpose, I again and again work out model projects and programmes with my team which address respective topical issues and challenges facing Cultural Education. Last but not least, we inform actors in Cultural Education about state-of-the-art developments.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
Artists are important actors in Cultural Education. With the Certificate Course, they receive knowhow enabling them to contribute their artistic work to the Cultural Education landscape in an even better manner. In addition, the participants deal with issues going beyond their field of action in proper, e.g. in order to be able to develop Cultural Education programmes in cooperation with others or with digital tools and to launch them in the long term. This is an important extension to the activity skills of artists. It offers the perspective to reach out to new target groups for Cultural Education projects.
Which changes are needed at cultural policy or education policy level to strengthen the potentials of cooperation with artists for Cultural Education in Germany?
Schools play a central role in enabling across-the-board access to and participation in Cultural Education programmes for all children and youths. Here, artists can become involved in collaborative schemes with their specific qualities. This works particularly well where schools follow concepts in which these programmes form a part of their curriculum. The Federal States hold the education and culture policy responsibility for this. Here, unfortunately, the framework conditions still vary considerably. So what counts in the long term is to strengthen cooperation between schools and extra-school education partners and to create appropriate legal and financial framework conditions.
Susanne Rehm at “Artistic Interventions in Cultural Education”
Susanne Rehm is taking part as a lecturer in the context of the Certificate Course in Module 3: “Strategies and Practice Formats in Communicating Art and Culture”. If you have any queries or are interested in cooperating, please get in touch with zertifikatskurs [at] uni-hildesheim [dot] de.
From the 05.11.2021 to the 07.11.2021, the second Module of “Artistic Interventions in Cultural Education” took place at the Federal Academy for Cultural Education in Wolfenbüttel. For the 33 participants, there were inputs on various discourses addressing how to design mediating activities. Discussions were initiated in Wolfenbüttel on the topics of diversity, mediation at school and the procedural nature of creative work.
On the weekend, our wonderful lecturers also visited the Federal Academy in Wolfenbüttel in order to give the scholarship holders exciting impulses for the topic of Theories and Discourses in Cultural Education.
The Module was moderated by Vanessa-Isabelle Reinwand-Weiss. She studied pedagogics, drama and media science, Italian romance studies and philosophy. Following a Junior Professorship at the University of Hildesheim’s Institute of Cultural Policy, she has been Director of the Federal Academy for Cultural Education Wolfenbüttel since 2012, and as a Professor of Cultural Education, she continues to teach in Hildesheim. Vanessa-Isabelle Reinwand-Weiss guided the participants through the dense programme. For example, input was given on the topic of Artists in Education – theoretical approaches and empirical studies by Prof Dr Frank Jebe. Nora Amin, Dr Özlem Canyürek and Nhu Y Linda Nguyen lectured on various aspects of diversity in Cultural Education activities. One special feature of Module 2 was an introduction to the Module “Train the Trainer” with Birgitta Heller-Mevißen and Saskia Köhler on the Sunday (07.11.).
You can find an overview of all lecturers so far here.
From the 05.11.-07.11.2021, the second Module of “Artistic Interventions in Cultural Education” took place at the Federal Academy for Cultural Education in Wolfenbüttel. For the 33 participants, there were inputs for various discourses on how mediation activities can be designed. Discussions were initiated in Wolfenbüttel on the topics of diversity, mediation at school and the processual aspect of artistic work.
Various perspectives were opened in order to be able to link them or also delimit them from one another on site. One special feature of Module 2 was an introduction to the Module “Train the Trainer” on the Sunday (07.11.). This consolidation module offers the opportunity to pass on the skills one has acquired in the context of the certificate course as a lecturer or instructor.
Here, it was a special objective of Module 2 to provide the participants with the possibility to transfer their artistic and mediatory activities to contemporary theories and discourses. Which theoretical approaches and discourses can shape and inspire artistic activities in Cultural Education? How much participation is possible in artistic work with social groups? In what manner can artistic projects contribute to mobilise for sustainable action?
These are just a few of the questions discussed in Module 2. You can get to know the Module lecturers here.
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Ellen Kobe lives in Berlin and Potsdam, working as an artist and curator. After studying at Weißensee Academy of Art Berlin, she did a study residency at Villa Arson in Nice, received a DAAD scholarship and completed her fine arts studies with a diploma in Marseilles, France. Her focus is on interventions in public spaces and performances/videos on institutional critique, the operating system of art and the culture of the absent. Over the last few years, she has developed an approach of her own for this which thinks through performance from the angle of the absent and from the concept of the “defect”. She is interested in deconstructing social rituals, especially at the museum. With performances, she intervenes in existing structures, makes use of spaces, materials and objects which are already there, thus initiating a shift in perspective via minimal reinterpretations.
What is your professional focus?
As a visual artist, I work on the topic of historical reception and realise interventions and performances in historic places. Maintaining a critical view of the museum-like claim of interpretational sovereignty in history and the present, I develop performances on the fine line between reality and fiction, during which I write myself into a “spatial narrative” with my biography.
In the latest performances, the question of identity has constituted itself as a new series of works in the field of tension created by the current social discourse on fake identities. As a fictive descendent, the relationship between me as an individual and the individual in the story in turn relates to the relationship between being and time. The boldness of this claim also reveals to observers how they relate to history in an exemplary manner. Here, the presence of the absent gains new visibility, allowing the questioning of the topicality of the past with various artistic formats.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I understand artistic intervention as a power to act in order to intervene in concrete spatial, social and political structures. I interpret space strategy in Beuys´ sense, as a power to act in the social space. The idea is to explore the more fundamental interrelations, from the tangent of women and migrant policy, which is currently strongly in the limelight, to get to the core, and discuss it on site, that is, to address the relationships of power and violence, German history and, first and foremost, the capital flows.
The pilot course seeks to identify the signatures of the new epoch, links up insights from the working world, politics, business and cultural history in order to challenge the feeling of being overwhelmed by the present we are experiencing.
Ellen Kobe at “Artistic Interventions in Cultural Education”
Ellen Kobe is taking part in the course framework as an artist with a performance in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Nhu Y Linda Nguyen is currently a Master Scholar under Parastou Forouhar. She previously studied visual arts at the Kunsthochschule Mainz and philosophy and education science at Johannes Gutenberg University Mainz. In 2019, she was involved in the project “Curriculum für eine diskriminierungskritische Praxis an der Schnittstelle Kunst/Bildung” (a curriculum for discrimination-critical practice at the interface between art and education) as a student assistant. Since 2020, she has been working as an academic assistant at the Chair of Art Didactics at Kunsthochschule Mainz. Her artistic and academic projects are devoted to inter-/transdisciplinary approaches between the fields of art (communication) and philosophy. She intertwines academic approaches such as post-migratory identity, hybridity, decoloniality, post-colonial and feminist theory in her artistic activities, which are aimed at visualising the invisible. In this context, from an intersectional perspective, she examines how structures of dominance create these invisibilities and analyses the narrative moments inherent in this field of tension.
Stefan Bast teaches art didactics at Kunsthochschule Mainz. As an academic assistant* he does research in the project “Curriculum für eine diskriminierungskritische Praxis an der Schnittstelle Bildung/Kunst” (a curriculum for discrimination-critical practice at the interface between art and education). His doctoral thesis examines discourses on power and rule in the field of art pedagogics from a discrimination-critical angle. From 2015 to 2020, Bast taught the subjects of visual arts and German at the Melanchthon-Gymnasium (higher secondary school) in Berlin Marzahn-Hellersdorf and acted as a counselling teacher for sexual and gender diversity. He headed the workshop for experimental photography at the Youth Art School of the Marzahn-Hellersdorf District in Berlin as a seconded teacher from 2017 to 2019. Prior to his work as a teacher at the institution school, he had been an art assistant in the field of theory and practice of visual communication at Kunsthochschule Kassel from 2014 to 2015 and, in addition, had been active in extra-school art communication from 2012 to 2015. In his art pedagogics activities, he is particularly interested in artistic and action-oriented access to art, design, fashion, architecture and popular culture. In addition, he is a member of the TOYTOYTOY collective, an interdisciplinary platform for gender policies and college students at the Graduiertenkolleg “Educational Processes in Discrimination-Critical University Teaching” at Johannes Gutenberg University Mainz.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
The certificate course “Artistic Interventions in Cultural Education” provides a space in which artists and cultural workers can network, communicate and discuss and practise discrimination-critical perspectives. Spaces like these offer opportunities to intervene, to unlearn inequality relationships and to reflect one’s own social positioning. In addition, communication can be empowering in such learning environments. For workers at the interface of art/education gaining intersectional discrimination experience, perspectives and practices of self-empowerment thus open up which can be taken up in the field of Cultural Education.
Which changes are needed at cultural policy or education policy level to strengthen the potentials of cooperation with artists for Cultural Education in Germany?
In school environments, Cultural Education and other education work situations, as well as in the arts, it is not only representatives of the social norm who are present: white, communicating via the language of the majority, bourgeois, fit enough to master the physical and workload standards, cis-male or female, heterosexual, well provided for. On the contrary, these spaces are heterogeneous in their social composition. We therefore design our teaching, our research and hence also our handling of each other in a consistently discrimination-critical manner. Inclusive and exclusive mechanisms in education and in the arts are continuously focused on and also reflected upon with regard to one’s own teaching.
In our opinion, what is needed in order to strengthen the potentials of working with artists for Cultural Education is a willingness at cultural and education policy level to undergo change towards discrimination-critical practice. Curricula, methods and structures have to be consistently questioned and reflected, and spaces have to develop which enable good teaching and learning experience for all, and in which in particular minority knowledge is also addressed. This calls for education workers at the interface between education and art who are correspondingly sensitised and are willing to practise this perspective.
Nhu Y Linda Nguyen & Stefan Bast at “Artistic Interventions in Cultural Education”
Nhu Y Linda Nguyen & Stefan Bast are taking part in the course framework as a lecturer in Module 2: “Theoretical concepts and discourses”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
From the 24.09.-26.09.2021, the first module of “Artistic Interventions in Cultural Education” was held at the Federal Academy for Cultural Education in Wolfenbüttel. Thirty-three participants as well as six lecturers and an artist filled the three days with inputs, workshops, aesthetic communication formats and artistic impulses. On our Homepage, we present three perspectives looking back at the weekend.
Not only the team but also the participants were able to look forward to an exciting exchange of views, ideas and experiences the first time they met. Coming from the branches of visual art, interdisciplinary fields, literature, music, drama and dancing, 33 scholarship-holders with a diversity of backgrounds and biographies are taking part who can benefit not only from our course but also from the different expertise of the respective others. Those who are not yet familiar with our participants can get to the scholarship-holders of the certificate course “Artistic Interventions in Cultural Education” via this link.
Nora Amin has been a resident of Berlin since 2015, where she is a mentor at the LAFT/PAP (Performing Arts Program/Berlin) and at Flausen+Bundesnetzwerk. An expert on theatre of the oppressed, critical pedagogy and dance/performance, Amin is also an author, performer, choreographer and theatre director. She founded both the nation-wide Egyptian Project for Theatre of the Oppressed and its Arab network, and as founder and artistic director of Lamusica Independent Theatre Group, she directed, choreographed and produced 40 productions of dance, theatre and music. Amin is currently a member of the steering team of the future Dance Mediation Centre in Berlin and board member of the German Centre of the International Theatre Institute. Her latest publication is “Tanz der Verfolgten” (MSB Matthes & Seitz, 2021), an attempt to decolonise the history of Baladi dance from a feminist perspective, linking patriarchy with capitalism and racism.
What is your professional focus?
My focus is on critical discourse in general, and more specifically in connection with dance and the performing arts. I work with the theories of critical pedagogy and the “Pedagogy of the Oppressed” as well as the Theatre of the Oppressed. I also focus on the criticism of racism and the feminist perspective in performance and trauma healing in my activities.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
It offers opportunities to present the marginalised cultures within education, to shift from the Eurocentric vision towards a vision of equality in which all forms of culture and creative expression can be addressed equally, as well as to acknowledge the diverse and marginalised audiences and communities who need to be present with their histories and experiences within all forms of cultural education so that they become equal partners.
Which changes are needed at cultural policy or education policy level to strengthen the potentials of cooperation with artists for Cultural Education in Germany?
We need a cultural policy that not only addresses diversity, but is diverse in itself, and is made by diverse perspectives that are able to redefine the present reality of German society and envision a future of equality and plurality. For this we need a new pedagogy both in cultural policy and in education policy which no longer incorporates eurocentrism or a hierarchy of knowledge or origin.
Nora Amin at “Artistic Interventions in Cultural Education”
Nora Amin is taking part in the course framework as a lecturer in Module 2: “Theoretical concepts and discourses”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Dr. Renate Bräuninger obtained an M.A. in Musicology from Ludwigs-Maximilians-Universität München (LMU) and a PhD in Performing Arts from Middlesex University London, UK. A scholarship from the German Academic Exchange Service allowed her to study at New York University and at Dance Theatre Workshop, New York. She started teaching during her studies at numerous German and UK universities, most recently at the University of Northampton, where she was a course leader of the B.A. Dance and the M.A. Performing Arts. Her main research area is choreo/musical analysis and here in particular the choreographies of George Balanchine and Anne Teresa de Keersmaeker. Additionally, Renate Bräuninger researches and publishes in the following areas: notation, archiving and meaning making processes as well as practice as research. She has published both in English and in her native German.
What is your professional focus?
The main focus of my research is the possible relationships between music and the moving image in dance and film, and here, especially, the change of our perception of visual sensations through acoustic signals. In this context, I have dealt intensively with questions of notation and archiving (here especially oral archives) as well as with theoretical models of meaning making, starting with the writings of Friedrich Schleiermacher up to Tristan Garcia. Working in such an inter- and transdisciplinary field, the starting point for my engagement is not so much the artistic artefact as such, but the toolbox and the creative processes which are needed that a performance can take place.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
Possible Potentials of the course for my specialist area include a critical questioning of the familiar discursive strategies from the position of the facilitator, on the one hand with regard to theoretical models, and on the other hand in terms of what is needed on practical tools in the different art forms.
The gap should be bridged between the positions of the spectator, the maker and the facilitator, while the spectators should be able to gain more access to the experiences of arts practitioners.
A greater interest in and understanding of the interplay between the different arts practitioner and media contributing to a performance could be developed, and
new culturally diverse approaches should result from the discussions of the students.
Which changes are needed at cultural policy or education policy level to strengthen the potentials of cooperation with artists for Cultural Education in Germany?
While the German State and municipal theatre landscape is unique in Europe, funding for culture is needed beyond this area. The entire population, with their different degrees of education and various cultural backgrounds, have to be reached. While traditional cultural forms such as opera, ballet and drama need to be made more accessible to different groups of audiences, the cultural value of such forms has to be questioned. Which forms and which themes would represent cultural discourse in artistic spaces more adequately, and how can hybrid forms emerge? The goal is not automatically reached if contents are simplified and contain elements of different cultural forms.
Renate Bräuninger at “Artistic Interventions in Cultural Education”
Renate Bräuninger is taking part in the course framework as a lecturer in Module 2: “Theoretical concepts and discourses”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
From the 24.09.-26.09.2021, the first module of “Artistic Interventions in Cultural Education” was held at the Federal Academy for Cultural Education in Wolfenbüttel. Thirty-three participants as well as six lecturers and an artist filled the three days with inputs, workshops, aesthetic communication formats and artistic impulses. On our Homepage, we present three perspectives looking back at the weekend.
The performance FESTMAHL! by Ellen Kobe formed the centrepiece of the weekend. It was staged at the Schloss Museum Wolfenbüttel, a historic building which had for a long time served the Dukes of Braunschweig-Lüneburg as a Residenz.(übersetzt “residence”) Today, the Schloss Museum Wolfenbüttel boasts the baroque rooms preserved in their original state which today still bear testimony to the glamour and splendour of courtly life. During the FESTMAHL! in collaboration with cook Christoph Pemmann and his team which took place in the palace’s ceremonial hall, surrounded by original exhibits, the historic rooms came to life again with their stories and tales.
Ancient candle bearers, valuable china and other artefacts in the collection created a baroque, festive atmosphere for the evening. The Tromp-l‘oeil principle provided for a game of confusion based on seeing and understanding. The story of Ellen Kobe’s being a relative of Prussian Queen Elisabeth Christine was made so convincing with the historical artefacts serving as proof that the question remained where historical narratives and inventions actually coincided. Again and again, the participants had to ask themselves what was really genuine.
With a choreography of dining staged in accordance with the set of rules for baroque dining culture, the FESTMAHL! was turned into a place of communication and encounter among the scholarship-holders. “My identity as a performer was correctly announced by the programme, glimmered through the perspective of action and speech and remained suspended between reality and fiction.” (Ellen Kobe)
The first Module of “Artistic interventions in Cultural Education” took place at the Federal Academy for Cultural Education in Wolfenbüttel from the 24.09.-26.09.2021. Thirty-three participants as well as six lecturers and one artist provided the framework for the three days with inputs, workshops, aesthetic communication formats and artistic impulses. On our Homepage, we give three retrospect perspectives of the weekend.
Getting to know the scholarship-holders, mini-workshops, speed-dating and an aesthetically staged Feast! Last week, marking the launch of “Artistic interventions in Cultural Education”, there were several innovative meeting places – both for the scholarship-holders and the lecturers – to get to know each other and share views and ideas.
One special objective of Module 1 in this context was to give the participants the opportunity to position themselves with their artistic activities. What have grand concepts like Cultural Education, art research, artistic interventions or communicating art and culture actually got to do with one’s own activities? What can art achieve on its own? And how do I define myself as an actor in this field?
These are just a few of the questions which were discussed in Module 1. You can get to know the lecturers from Module 1 here.
Susanne Hesse-Badibanga (*1963) studied fine art/art pedagogics in Kassel from 1992 to 1997. After a scholarship awarded by the Cultural Foundation of Hesse enabling a study stay in New York, she worked as an art communicator at the documenta 12 in Kassel and headed the workshop “Deutsch-Wissen” in cooperation with the documenta advisory Council. Hesse-Badibanga headed and designed a wide range of intercultural integration projects in Frankfurt am Main as well as the Frankfurter Kunstverein’s communication project “Schulstudio” in cooperation with numerous schools in the region. She is a freelancer for the Kunsthalle Schirn in Frankfurt am Main. In addition, she has teaching assignments at the University of Art and Design Offenbach am Main and Johann Wolfgang Goethe University of Frankfurt am Main at the Institute of Art Pedagogics. At the documenta fifteen, she is heading the Education and Communication field.
What is your professional focus?
I am both an artist and an art communicator. In my work, the two areas overlap. For example, my task for the forthcoming documenta fifteen is to design the walks for the visitors. Conceiving and planning the walks is done in close coordination with the artistic direction, the Indonesian art collective ruangrupa and the Artistic Team. One further activity field of mine is planning and organising the training of the guides to prepare them for their work and communication with the visitors at the exhibition.
In exchange with universities and schools from international contexts, we deal with issues regarding contemporary formats of Cultural Education in transnational spaces. In the context of a current Curatorial Turn, art communication is being newly thought through, and new practical formats are being tried out.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
Working with artists in Cultural Education fields is an important and indispensable element. Artists have access to artistic techniques, ways of thinking and action strategies which differ, for example, from those of art communicators or art pedagogues. A spontaneous glance when dealing with art gives young participants in particular a view of forms of understanding they are not familiar with and options for action which they have not expected.
In order for cooperation between artists and schools or another institution to be sustainably productive, it is just as helpful for artists to have a knowledge, for instance, of how an institution works, under which conditions teaching takes place as a rule, or how familiar models of Cultural Education are usually designed. In my opinion, a sensitive handling of the respective conditions, constellations and learning situations is an important prerequisite for designing a constructive (learning) atmosphere with a group.
Which changes are needed at cultural policy or education policy level to strengthen the potentials of cooperation with artists for Cultural Education in Germany?
Special funding structures are definitely required for any cooperation with artists which also support and enable preparation and follow-up activities. Artists ought to be more strongly involved in teaching contexts, especially in art lessons at schools.
Susanne Hesse-Badibanga at “Artistic Interventions in Cultural Education”
Susanne Hesse-Badibanga is taking part in the course framework as a lecturer in Module 1: “Potentials of art for cultural education processes”. In addition, she is supporting interested scholarship-holders in developing their practical projects in the context of documenta 15. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Birgit Mandel is a Professor of culture communication and culture management as well as being Director of the Department of Cultural Policy at the University of Hildesheim. She heads the Master’s programme on Cultural Mediation as well as the Bachelor’s programme on Civilisation Studies and Aesthetic Practice. Mandel is Vice-President of the Kulturpolitische Gesellschaft, a member of the CommerzbankFoundation board of trustees, for which she developed the “ZukunftsGut” award for the institutional communicating of culture, as well as a member of the supervisory board of Berlin Kulturprojekte GmbH. Furthermore, she is a founding member of the Fachverband für Kulturmanagement (culture management professional association) and headed the association for several years. She has conducted a wide range of research projects at the interface of culture communication, Cultural Education, audience development, culture management and cultural policy as well as surveys of visitors and interviews among the public and is the author of many publications.
What is your professional focus?
My focal areas are research and teaching in culture communication at the interface between aesthetic and artistic practice, art and culture communication, Cultural Education and cultural policy.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
Art offers special potentials for Cultural Education since it simultaneously addresses people at an emotional, aesthetic and intellectual level. Being free of any defined object and bearing a playful character, it enables “rehearsals of action” and can form utopian spaces: “everything could also be very different”. Thanks to its ambiguity and its surplus of meaningfulness “there is no one correct solution”, conflicts and contradictions can also be discussed within its framework. These qualities of art can become productive in connection with communication strategies in various societal contexts such as school, youth work, urban development, political activities or in business enterprises.
Since our civilisation studies programmes in Hildesheim have also been oriented on the potential of art in communication in the widest sense ever since they were launched in 1978, this certificate course directly takes up our expertise and further develops it for freelance artists.
Which changes are needed at cultural policy or education policy level to strengthen the potentials of cooperation with artists for Cultural Education in Germany?
There are already many funding programmes at the level of Federal and State governments and local government for artists in Cultural Education, although they are frequently part of project structures. It would make sense to have the field of “Cultural Education” firmly anchored in all schools of general education with continuous contracts for artists. In the public cultural institutions, the share of communication could be raised – e.g. with a provision referring to communication activities in the budget. This could also open up options for continuous activities of freelance artists.
Birgit Mandel at “Artistic Interventions in Cultural Education”
Birgit Mandel is taking part in the course framework as a lecturer in Module 1: “Potentials of art for cultural education processes”, Modul 5: “Culture Management for Art Creators in Cultural Education” and Module 6: “Cultural Institutions as Places of Learning”. Furthermore, as the artistic project director, she was involved in designing and launching the pilot course.
For details, see: https://kuenstlerische-interventionen.de/team/.
If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de.
Dr Tom Braun is a Professor of Cultural and Media Pedagogics at the IU International University of Applied Sciences. Prior to that he was Managing Director of the German Federation for Arts Education and Cultural Learning (BKJ), and was responsible for the design and implementation of Federal-wide model and practice research projects as well as measures for a Federal-wide field development of professional structures in cultural and media pedagogics. Tom Braun is a member of the Federal Government’s Federal Youth Curatorium, the Board of the “Arbeitsgemeinschaft für Kinder- und Jugendhilfe” (AGJ – working group on chid and youth welfare) and the scientific advisory council of the knowledge platform kubi-online.
What is your professional focus?
Research and work foci: theory and practice of cultural education, critical cultural pedagogics, cultural school development.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
When practitioners from art and culture want to become active in schools, they have to be able to develop and reflect upon their own subject-matter knowledge and relate it to the school’s educational mission and its actors. Artistic interventions can only have a sustainable effect in the education sector if they are planned and implemented by reflected practitioners in cooperation with the responsible field actors. This is also the yardstick against which the certificate course has to be measured.
Which changes are needed at cultural policy or education policy level to strengthen the potentials of cooperation with artists for Cultural Education in Germany?
The urgent task ahead is that of an analogue-digital education concept which is above all oriented on the rights of children and youths to support, participation and protection. In this sense, it is important to develop all-day education tailored to the needs of children and youths. In terms of concepts, this also means that the right to fully participate in cultural life has to be fundamentally taken into consideration for all children and youths. But this can only work with improved cooperation on the part of the Federal and State governments and local authorities on the one hand and through favourable framework conditions enabling multi-professional cooperation among school actors and actors outside schools on the other. But all of this amounts to nothing without better involvement of the children and youths themselves!
Tom Braun at “Artistic Interventions in Cultural Education”
Tom Braun is taking part in the course framework as a lecturer in Module 4: “Cultural Education in school contexts”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Maike Gunsilius is a Professor of Aesthetics of Children’s and Youth Theatre at the University of Hildesheim Foundation. As a cultural scholar, dramaturgist and performance creator, she has been working at theatres, including in Basel, Frankfurt am Main and Hamburg, as well as in theatrical urban projects, free performances and schools since 2003. She has also lectured at universities, including in Hamburg and Hildesheim. Her research focus is dramaturgies in contemporary and performance-oriented children’s and youth theatre as well as participatory art research with children and adults.
What is your professional focus?
I look at how contemporary forms of theatre and performance for and with children and youths handle their questions and concerns. In this context, I understand children’s and youth theatre as artistic democratic practice with which issues of living together in a diversified society are discussed for the present and the future and in which it is therefore always crucial to reassess the perspective of children and youths and their position in society in relation to adults.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I regard dealing with social diversity and transformation issues in close contact with different citizens as a challenge for cultural activities and education institutions. For artists, this means making a greater effort to cooperate with very different experts on everyday life and developing art forms and work methods for very heterogeneous constellations. The certificate course offers the opportunity to provide the expertise needed to accomplish this.
Which changes are needed at cultural policy or education policy level to strengthen the potentials of cooperation with artists for Cultural Education in Germany?
Time and staff are the key resources for artistic activities in social fields in order to be able to deal with diversity issues and ownership justice in artistic projects both with regard to structural and aesthetic dimensions. This calls for new staffing and timing – and corresponding better funding.
Maike Gunsilius at “Artistic Interventions in Cultural Education”
Maike Gunsilius is taking part in the course framework as a lecturer in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Seraphina Lenz studied sculpture at the University of Fine Arts Münster, and since 2001, she has been developing exhibitions at home and abroad. Together with five other artists, she operates the project facility oqbo |raum für bild wort und ton in Berlin. Lenz has received numerous awards and scholarships for her art works: 2021 Artist in Residence, P1 mobile Studio, Tenthaus, Norway; 2015 ARIO Residency, Odawara, Japan; 2002 to 2014 first prize and realisation in the art competition for the Carl Weder Park, Berlin.
From 2019 to 2020, Lenz had a teaching assignment at the College of Fine Arts (UDK) Berlin, and also in 2019, she worked as a teaching artist at Bern University of the Arts (HKB) in Switzerland. From 2011 to 2013, she was a lecturer at the Institute for Art in Context at the UDK Berlin. Previously, in 2010, she had been a teaching artist at Carl von Ossietzky University of Oldenburg and had worked from 2001 to 2005 as an artist in the research project Cultural Education in the Media Age of the Federal and State Commission for Educational Planning and Research Promotion (BLK). In 2000, she held a visiting lectureship at Yokohama National University in Japan.
What is your professional focus?
My artistic work originates from sculpting. In the 2000s, interest focused on creating urban spaces. The town is the stage and venue for societal topics. It becomes an object of research and an experiential space in which different living environments meet and in which historical dimensions, architecture and consumption act upon perception and behaviour. It is important for me to conceive projects on a long-term basis in order to be able to develop specific forms of cooperation with residents. Various teaching activities in the context of schools and higher education form a further focus of my activities. Links emerge between both areas.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
With the diversifying field of art, processes of art communication and definitions of Cultural Education change simultaneously. Concepts emerge the meaning of which may be altered depending on the context. For example, what does intervention mean – here, today, and in this context?
Whereas the debates on art and education in the 1990s were characterised by comparatively static and easy to distinguish positions, a new fluidity appears to prevail in 2021.
In my opinion, the course offers the opportunity for the participants to gain a common understanding of concepts and, being aware of different possible positions, work out an artistic attitude of their own. This can provide a basis for developing the field of work of Cultural Education setting out from art.
Which changes are needed at cultural policy or education policy level to strengthen the potentials of cooperation with artists for Cultural Education in Germany?
With reference to the previous answer, I would like to turn the question into six queries. What is the cultural policy level? What is the education policy level? Which potentials are meant? What does strong cooperation feature? What definition of Cultural Education should one set out from? And what concept of art or professional profile of artists is relevant? I would be interested in reaching an understanding of these issues during the weekend course in Wolfenbüttel.
Seraphina Lenz at “Artistic Interventions in Cultural Education”
Seraphina Lenz is taking part in the course framework as a lecturer in Module 1: “Potentials of art for cultural education processes”.
For details, see: https://kuenstlerische-interventionen.de/team/.
If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Alicia de Bánffy-Hall is a Professor of Aesthetic Practice in Social Work focusing on Music and Media, at the University of Applied Sciences Landshut (with music and media as a focal area. After doing a B.A. in Performing Arts/Community Music and a M.Sc. in Arts and Cultural Management, she lived in Liverpool, England, for ten years and worked as a community musician throughout Europe. She was involved in projects with, among others, orchestras, museums, schools, day-care centres and community centres as well as in free projects. In Germany, De Bánffy-Hall took part in developing the first M.A. degree course including Music Pedagogics/Community Music. She is a member of the Community Music Network Board, and she is also a member of the Editorial Board of the International Journal for Community Music and the Community Music Activity Commission.
What is your professional/artistic/academic focus?
I focus on community music, intersecting with music in social work, music pedagogics and cultural education.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I regard the course as an important supplement to the existing further education programmes, since it explicitly addresses artists. I above all find the interdisciplinary form of art exciting!
Which changes are needed at cultural policy or education policy level to strengthen the potentials of cooperation with artists for Cultural Education in Germany?
Realistic funding and training for artists in the field of social innovations is essential. That is why this certificate course is so important! In addition, sensitising education and cultural institutions for the potentials of cooperating with artists is of high significance.
Alicia de Bánffy-Hall at “Artistic Interventions in Cultural Education”
Alicia de Bánffy Hall is taking part in the course framework as a lecturer in Module 1: “Potentials of art for cultural education processes”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Prof Dr Frank Jebe (*1973) is an artist and education scientist as well as a Professor of Art and Intercultural Communication at Hochschule Niederrhein University of Applied Sciences. Prior to that, he dealt with the publications and studies of the Committee of Experts as an academic consultant at the Office of the Council for Cultural Education. From 2008 to 2013, as a freelance project manager of the Düsseldorf Office of Cultural Affairs, he was responsible for child day-care facilities, primary and secondary schools as well as youth camp facilities. The cooperation projects featured programmes testing artistic concepts related to social spaces. From 1996 to 2003, Jebe studied at the Kunstakademie Düsseldorf. From 2009 to 2012, he studied education science at the University of Duisburg-Essen.
What is your professional focus?
With art and art communication, different foci play a role when I teach at Hochschule Niederrhein. Here, Cultural Education in early childhood, artistic rehearsal, the forms of action in communicating culture, project management in the cultural sector and the cultural dimension of digitality are predominant elements. In the lectures on artistic rehearsal, my biographical relations to fine art play a particularly crucial role. Regarding my research interest, my focus is on the interfaces between culture and school which are relevant to education. In addition to the question of how input from artists in the sense of the liberal arts is entering schools, to me, issues regarding education policy expectations of art or regarding the education potentials for communicating culture, all of which has to be researched in the course of digitisation, appear to be of importance.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
The professionalisation of this field certainly bears a great potential. To me, however, the central keyword is “visibility”. The certificate course holds the potential to bring an activity field to the fore for artists which is hardly focused on in the academies. If, beyond this, the important experiences which are entering schools with the art programmes can actually be visualised, a lot will have been gained.
Which changes are needed at cultural policy or education policy level to strengthen the potentials of cooperation with artists for Cultural Education in Germany?
It remains to be seen whether the certificate can succeed in structurally boosting the role of artists on the “free” education market. The imbalance in power between the solo freelancers and school as an institution seems rather too great to make this probable. To me, the step which has to be taken in education policy is that local authorities accept more responsibility in selecting and seconding extra-school providers of education services. The City of Düsseldorf has given a good example of how this can work with its “Düsseldorfer Modell”.
Frank Jebe at “Artistic Interventions in Cultural Education”
Frank Jebe is taking part in the course framework as a lecturer in Module 2: “Theoretical concepts and discourses”.
If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de.
Mona Marijke Jas is an artist and researcher in the field of curating and mediating contemporary art. Among her activities, she was Faculty Member of documenta 14 in Kassel and Athens in 2017 and headed mediation at the 10th Berlin Biennale 2018. Furthermore, she led the research project Artistic Interventions in Cultural Education at the Institute for Cultural Policy at the University of Hildesheim and represented the professorship for Cultural Education there. Since 2021, Mona Jas has been artistic director of the KinderKunstLabor, AUT, which opens in 2024 and shows contemporary art for and with a young audience and puts it up for discussion. As of 2015, she has represented the field of curating, art education, and cultural education as an honorary professor at the Kunsthochschule Berlin Weißensee. Her research focus is on the artistic mediation of contemporary fine arts and Biennales.
What is your professional focus?
As an artist and scholar, I am always eager to create networks via which the artists and various institutions such as schools, universities, art institutions and social facilities can meet and cooperate at eye-level. The special aspect here is mutual dialogue. My artistic impulses and scholarly analyses feed into qualification programmes for artists, into teaching and into art institutions. Against this background, we create a wealth of common experience with children, youths and adults some of whom have the opportunity for the first time to enter into intensive communication with contemporary art and the institutions belonging to it. Together, we develop interactive communication formats – and communication can develop which reaches across generations and social spaces.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
Here, creators of art and culture can be supported in generating movement and change. This is very import for a society, but is also equally important for the further development of the field of art. In this context, the certificate course offers the space to reflect critically on one’s own work, irritate others and also become irritated oneself. In order to be able to change things, we have to be familiar with systems. This is the only way to find out where the weaknesses as well as the strengths are and at which points changes become possible. Changes are above all possible when artists’ awareness of their own interpretational sovereignty is strengthened. These are central aspects of the course, and they also include seeking artistic quality in communication, together with a self-critical contextualisation of artistic work in education in the context of diversity, internationality and local references.
Which changes are needed at cultural policy or education policy level to strengthen the potentials of cooperation with artists for Cultural Education in Germany?
At cultural and education policy level, improving the economic situation of artists, for example through universal basic income. This can ensure the development of a space in which it becomes possible beyond political objectives and market forces to pursue one’s own intrinsic motivation to work in the education and social field. What then also counts is to record the contradictions of a complex societal reality of artists at political level and in the education sector: market versus political engagement – or are both possible? And how does this in turn fit in with the artistic claim to singularity and quality? Or with the economic situation referred to above? At least one can note that linear and rigid concepts of artistic work in the education sector are no help. Today, we can observe not only complexities but also the possibilities for mutually contradictory processes to proceed at the same time. This has to be given much more consideration in the cultural and education policy field.
Mona Jas at “Artistic Interventions in Cultural Education”
Mona Jas is taking part in the course framework as a lecturer in Module 1: “Potentials of art for cultural education processes”. Furthermore, as the artistic project director, she was involved in designing and launching the pilot course.
For details, see: https://kuenstlerische-interventionen.de/team/.
If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Prof Dr Vanessa-Isabelle Reinwand-Weiss studied pedagogics, drama and media science, Italian romance studies and philosophy in Erlangen and Bologna and completed her doctorates with a thesis on educational and learning processes in dramatics at Friedrich Alexander University of Erlangen-Nuremberg in 2007. Subsequently, as a postdoctoral researcher, she headed a study on early childhood education at the University of Freiburg (Switzerland). Following a Junior Professorship at the University of Hildesheim’s Institute of Cultural Policy, she has been Director of the Federal Academy for Cultural Education Wolfenbüttel since 2012, and as a Professor of Cultural Education, she continues to teach in Hildesheim. Reinwand-Weiss is an active member of numerous committees and juries in the Cultural Education field. For example, she is a founding member of the Federal Network for Cultural Education and an expert in the Council for Cultural Education.
What is your professional focus?
I am active both as a culture manager and in the area of cultural policy, teaching and researching in the field of (early childhood) Cultural Education.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I expect the course to sensitise artists for mediation activities in educational and cultural institutions and to hone their profile in this respect. This can also contribute to Cultural Education being more strongly structurally anchored in educational and cultural institutions in the future. There is an urgent need for more Cultural Education in our educational and cultural institutions!
Which changes are needed at cultural policy or education policy level to strengthen the potentials of cooperation with artists for Cultural Education in Germany?
In the education sector, there ought to be more scope for structural freedom and courage in child day-care centres and schools, and for them to be able to aesthetically orient their profile and also address other topical issues such as sustainability, education towards democracy or diversity via cultural (school) development. In my opinion, public cultural institutions are in particular need of funding and cultural policy framework provisions to implement Cultural Education and Mediation as a cross-cutting mission. Qualified staff is a prerequisite for both aspects.
Vanessa Reinwand-Weiss at “Artistic Interventions in Cultural Education”
Vanessa Reinwand-Weiss is taking part in the course framework as a lecturer in Module 1: “Potentials of art for cultural education processes”. Furthermore, Vanessa Reinwand-Weiss represents the Federal Academy for Cultural Education as one of the project partners accompanying the pilot project.
For details, see: https://kuenstlerische-interventionen.de/projektpartner/bundesakademie-fur-kulturelle-bildung/. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Prof Dr Vanessa-Isabelle Reinwand-Weiss studied pedagogics, drama and media science, Italian romance studies and philosophy in Erlangen and Bologna and completed her doctorates with a thesis on educational and learning processes in dramatics at Friedrich Alexander University of Erlangen-Nuremberg in 2007. Subsequently, as a postdoctoral researcher, she headed a study on early childhood education at the University of Freiburg (Switzerland). Following a Junior Professorship at the University of Hildesheim’s Institute of Cultural Policy, she has been Director of the Federal Academy for Cultural Education Wolfenbüttel since 2012, and as a Professor of Cultural Education, she continues to teach in Hildesheim. Reinwand-Weiss is an active member of numerous committees and juries in the Cultural Education field. For example, she is a founding member of the Federal Network for Cultural Education and an expert in the Council for Cultural Education.
What is your professional focus?
I am active both as a culture manager and in the area of cultural policy, teaching and researching in the field of (early childhood) Cultural Education.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
I expect the course to sensitise artists for mediation activities in educational and cultural institutions and to hone their profile in this respect. This can also contribute to Cultural Education being more strongly structurally anchored in educational and cultural institutions in the future. There is an urgent need for more Cultural Education in our educational and cultural institutions!
Which changes are needed at cultural policy or education policy level to strengthen the potentials of cooperation with artists for Cultural Education in Germany?
In the education sector, there ought to be more scope for structural freedom and courage in child day-care centres and schools, and for them to be able to aesthetically orient their profile and also address other topical issues such as sustainability, education towards democracy or diversity via cultural (school) development. In my opinion, public cultural institutions are in particular need of funding and cultural policy framework provisions to implement Cultural Education and Mediation as a cross-cutting mission. Qualified staff is a prerequisite for both aspects.
Vanessa Reinwand-Weiss at “Artistic Interventions in Cultural Education”
Vanessa Reinwand-Weiss is taking part in the course framework as a lecturer in Module 1: “Potentials of art for cultural education processes”. Furthermore, Vanessa Reinwand-Weiss represents the Federal Academy for Cultural Education as one of the project partners accompanying the pilot project.
For details, see: https://kuenstlerische-interventionen.de/projektpartner/bundesakademie-fur-kulturelle-bildung/. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Saskia Köhler (*1976) is an actress, theatre pedagogue and culture agent in the programme “Kulturagenten für kreative Schulen NRW” (culture agents for creative schools in NRW) in Bielefeld. Following acting engagements at the Stadttheater Bielefeld and the Theater für Kinder Hamburg, since 1999, she was mainly involved in art and cultural education, for example as an artist for the mus-e Programms of the Yehudi Menuhin Foundation Germany and as the artistic director of a mus-e model school. Since 2015, she has been responsible for the thematic field of school development and artistic and cultural education as a learning guide at the Peter Gläsel School (PRRITTI education model). She works as an expert in the development and implementation of digital and creative learning formats for the PRRITTI Academy. Throughout the Federal Republic, she works as an expert and consultant on creative and artistic education processes with foundations, universities, artistic and cultural programmes and schools.
What is your professional focus?
My work concentrates on the topics of participation and design in the field of artistic and cultural education. In all my fields of activity and my work, my focus is always on initiating change processes through methodical and systemic participation and artistic interventions and establishing cooperation between cultural institutions and freelance artists. The dimensions and quality aspects of Cultural Education are of particular interest to me in this field of tension with regard to making the potential of art to benefit education visible through its transformative properties and to systemically establishing it.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
If the arts collaborate with school as a system, learning processes can be oriented on the potentials of individuals. Interaction between modes of working, methods and approaches in art creates new access to learning which places the living environment of pupils as designers of their own learning processes at the centre. Social and artistic and aesthetic skills are gained through artistic access arising from this link, so that personal development and cooperative thinking and acting are enabled. These are skills which are more important for the future than following instructions or repeating information. Art is capable of visualising the complexity of learning processes, allowing transformations and enabling old structures to be broken open and curricula to be replaced.
Which changes are needed at cultural policy or education policy level to strengthen the potentials of cooperation with artists for Cultural Education in Germany?
Evaluations of various Cultural Education programmes over the last few years have revealed that artists cannot effect any structural changes in schools on their own. Therefore, artists as well as teachers require a new form of training. This calls for a new professional profile for artists seeking to work in an educational context. All art forms have to be offered and treated equally in schools. Furthermore, artists as well as teachers have to be structurally integrated to be able to develop their expertise on a secure basis in order to enable cooperative and participative learning.
Saskia Köhler at “Artistic Interventions in Cultural Education”
Together with Birgitta Heller-Mevißen, Saskia Köhler is taking part in the course framework as a lecturer in Module 2: “Theoretical concepts and discourses”, and in Module 8 and additional online formats, she is in particular responsible for the “Train the Trainer” programmes. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de.
Dr phil. Thomas Renz (*1979) is a cultural studies scholar. Since 2020, he has been conducting research at the Institute for Research on Cultural Participation at the Foundation for Cultural Education and Cultural Consulting (SKWK) in Berlin on issues concerning the strategic development of public participation in cultural institutions and administration. From 2017 to 2020, he acted as commercial and artistic director of the Stadttheater Peiner Festsäle – Kulturring Peine e. V. From 2010 to 2017, as an academic assistant, he taught and did research at the University of Hildesheim’s Institute of Cultural Policy. He teaches at several German universities and is co-spokesman for the methods working group of the Association for Cultural Management, reg. Ass.
What is your professional focus?
As a cultural studies scholar with a wide artistic background, I above all conduct empirical cultural sociology research on issues concerning participation in culture. Currently, as an assistant at the Institute for Research on Cultural Participation at the Foundation, I advise cultural institutions and the Senate administration in Berlin on questions regarding the strategic development of public participation. In all my previous career stages, I have dealt with administrative and legal issues. I would like to hand on this experience in the course.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
Comprehensive and thematically broad-based further education.
Which changes are needed at cultural policy or education policy level to strengthen the potentials of cooperation with artists for Cultural Education in Germany?
Issues concerning Cultural Education, communication of culture and the development of public participation should feed into all cultural policy decisions. Staffing a theatre director post must not depend solely on an individual’s artistic profile but should also consider knowledge of the above issues. On the other hand, artists must also more strongly integrate the significance of communication in their own activities. Merely engaging in a certain form of art and then hoping that some mediator will make the public aware of it just won’t work.
Thomas Renz at “Artistic Interventions in Cultural Education”
Thomas Renz is taking part in the course framework as a consultant in Module 5: “Cultural management for creators of art in Cultural Education”.
If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs@ uni-hildesheim.de
Uta Plate is a theatre maker and lecturer. After graduating in applied civilisation studies at the University of Hildesheim, her publication “Fremd bleiben”, on intercultural theatre work, was published (co-author: W. v. Bernstorff). From 1999 to 2014, she was head theatre pedagogue at the Schaubühne Berlin. Since 2014, Plate has been working internationally as a freelance theatre producer. Her focal areas are: inter-generative projects, working with socially disadvantaged groups, citizens’ theatre projects, documentary theatre, international projects with youths, site-specific projects. In addition, she teaches as a lecturer at universities in Berlin, Gießen, Hildesheim, Hannover, Copenhagen (Denmark) and Ouagadougou (Burkina Faso).
What is your professional focus?
“There is a crack in everything. That’s how the light gets in.” (Leonard Cohen)
My professional focal area is my collaborative activities with the experts on everyday life, the common quest for and experimenting with one’s own biographical life traits, which are characterised by cracks – moments of collapse, of radical change, of a new start. Light penetrating a crack tells the audience about new paths which one might previously not have believed to be possible.
I invite people with different perspectives on societal contexts to my theatre work, such as family judges or rainbow family associations, as was the case in the production “Schöne neue Welt: Familie 2.0” (Schauspielhaus Graz). In the documentary international research project “Youth Memory” (Deutsches Theater Berlin), together with Russian, Polish and German youths, we examined the various rituals commemorating the Second World War in the respective countries. The different historical narratives created friction which was then expressed onstage. In inter-generative theatre projects with native senior citizens and young refugees, too, courage is called for to engage in disputes, to ask each other questions no one else would otherwise dare to ask. (Residenztheater München: Servus Salem)
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
The course is aimed at examining the art of the “common” process, and how the latter can be initiated and designed. How does interaction between one’s own artistic inspiration and the quest and the ideas as well as research performed by the participants emerge?
Since the form defines the statement, it is important for the course to examine the effects of aesthetic and formal language. How do we want to narrate our contents? Should a discovery be disclosed? Should the world question things, and should the audience be disturbed? Or should new worlds be invented? Embarking on open processes demands much courage and confidence among all participants. The artists provide the tailwind this requires. The course can create the basis for clarity, eagerness to take risks and scope for possibilities.
Which changes are needed at cultural policy or education policy level to strengthen the potentials of cooperation with artists for Cultural Education in Germany?
One urgent objective ought to be that children and youths have a say and participate. Opportunity gaps encountered by young people have become even more apparent during the pandemic. How can we creators of culture counter the inequalities leading to dead-ends in thought, feeling and action with alternative spaces to discover and experience things?
As a freelance theatre producer and theatre pedagogue, I experience the challenge to establish projects in Cultural Education among existing hierarchies. How can spaces to act and research develop and mature in theatres which are used to other thought hierarchies and modes of communication? Often, establishing “the right life in the wrong life” is a conflict-laden field. Such conflicts need different spaces to make them more productive – i.e. not to just cope with them as well as possible in short-term processes, but to comprehensively explore and develop them. I would like to see all participants gain such spaces.
Uta Plate at “Artistic Interventions in Cultural Education”
Uta Plate is taking part in the course framework as a lecturer in Module 1: “Potentials of art for cultural education processes” as well as in Module 4: . If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de.
Dr phil. Özlem Canyürek is a freelance cultural policy researcher and lecturer. Her research focuses on the mission and role of cultural policy in achieving a fair and accessible performing art scene for all. She studied sociology at the University of Istanbul. After doing her M.A. at Istanbul Bilgi University on the topic of cultural management and cultural policy, she did a doctorate at the University of Hildesheim’s Department of Cultural Policy. Her doctoral thesis addresses the lack of cultural diversity in the German theatre landscape. She proposes framework conditions for a receptive cultural policy in order to initiate cultural diversity for the production and dissemination of thought, experience, knowledge, aesthetics and philosophies of life in an intercultural society. She is a member of the PostHeimat Network and the Global South Arts and Culture Initiative, GLOSACI.
What is your professional focus?
My research interests comprise the diversification processes in the performing arts, creating equal access conditions to the performing arts and to Cultural Education for all and the development of intercultural skills and abilities in Cultural Education. I give lectures on discrimination-critical, diversity-oriented perspectives in cultural policy, the performing arts and Cultural Education.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
Cultural Education plays a crucial role in creating more access to and more ownership of culture. “Artistic interventions in Cultural Education” hold the potential to widen horizons and change the Western-dominated form of knowledge production in art. I very much hope that this certificate course can be an opportunity to impart artists with the abilities and skills needed to recognise and appreciate diversified types and manners of aesthetics and artistic formats.
Which changes are needed at cultural policy or education policy level to strengthen the potentials of cooperation with artists for Cultural Education in Germany?
First of all, it is important to me to establish a coordinated approach among cultural and education policy towards stable cooperation with artists. However, the crucial question is what Cultural Education we need. The aim ought to be to introduce interculturally oriented perspectives of Cultural Education. With “intercultural”, I am referring to a mutual, lifelong learning process addressing all children and youths, irrespective of their ethnic origin, in a country in which cultural diversity ought to be recognised as a social norm. An integrated cultural and education policy ought to seek the establishment of a variety of cultural expression forms and offer explicit intercultural planning and corresponding implementation strategies in which artists are posited as transmitters of diversified artistic knowledge.
Özlem Canyürek at “Artistic Interventions in Cultural Education”
Özlem Canyürek is taking part in the course framework as a lecturer in Module 2: “Theoretical concepts and discourses”. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de
Birgitta Heller-Mevißen is an actor, management assistant in event organisation and culture agent. She worked at several German-language theatres for ten years and was managing director of two major sociocultural culture centres in Leer and Dortmund for more than 20 years.
She has been working as a culture agent since 2011 and has given schools in Moers, Krefeld, Duisburg, Münster, Marl and Neukirchen-Vluyn advice and support. As a consultant and lecturer, she moderates teams in orientation and change process and trains actors in the thematic field of Cultural Education.
She has been trained to perform both systemic coaching and team coaching and makes use of creative moderating methods to quickly and efficiently generate results.
What is your professional focus?
In school development, Cultural Education projects can give crucial impulses and effect changes. In the processes this requires, schools and creative artists have to be supporting in reaching agreement on how to overcome obstacles, discover resources and develop structures. Here, my role is that of the mediator and facilitator. Asking, listening, contributing expertise and setting impulses – to achieve this, I apply classic coaching and setting methods enabling all those involved to take part in a creative and artistic manner, thus enabling them to experience new approaches.
In my work as a lecturer, I explain the potentials and opportunities of these methods – and with the methods themselves, I provide teams and actors with the tools enabling them to engage precisely at the interfaces between systemic perception, artistic work and the classic tools of facilitation.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
In many schools, artists are integrated in multi-professional teams with an increasing diversity of skills among their members. While they dispose of considerable autonomy and artistic independence, it does also make sense for them to have system knowledge and expertise in the schools field of work. How can artistic processes and high-quality projects be put into practice in what is often a rigid school context? Assessing possibilities, formats and existing material resources is often already an important precondition for successful and sustainable work. Here, it is important to focus discourses on solutions and on giving impulses in order to discuss the conditions for artistic work in schools.
Which changes are needed at cultural policy or education policy level to strengthen the potentials of cooperation with artists for Cultural Education in Germany?
Decision-makers in politics and school administration ought to know and appreciate that in their massive change processes, schools need facilitation and expertise to find new approaches to developing lessons and social togetherness. As formative forces which have an effect in change processes, art and culture as well as their representatives ought to be intensively involved in the discourses on new approaches. The nonverbal, uniting force of creative actions and projects is an invaluable help in conciliation and orientation processes. The role and the mission of the artists ought to be welcome and well-defined. The artists also ought to be adequately and sustainably remunerated for their involvement and for contributing their special expertise.
Birgitta Heller-Mevißen at “Artistic Interventions in Cultural Education”
Together with Saskia Köhler, Birgitta Heller-Mevißen is taking part in the course framework as a lecturer in Module 2: “Theoretical concepts and discourses”, and in Module 8 and additional online formats, she is in particular responsible for the “Train the Trainer” programmes. If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de.
Friederike Schönhuth studied visual communication and sculpture in Offenbach as well as art history and sociology at Johann Wolfgang Goethe University in Frankfurt/Main. She was a consultant on visual arts and curator of the “ars viva” award at the Association of Arts and Culture of the German Economy at the Federation of German Industry, reg. Ass. in the BDI and headed Cultural Education at the Stiftung Kunst und Natur. She has been with the Crespo Foundation for five years, where, as head of the field of “Aesthetic Education and Art”, she is now responsible for the funding, development and expansion of the existing programmes in her field.
What is your professional focus?
As a graduated artist, art historian and sociologist, with my expertise as head of the field of “Aesthetic Education and Art” at the Crespo Foundation, I above all regard developing new formats which in particular also always promote and integrate the contemporary arts and artists at the inter-professional interface with Cultural Education as one of my focal activities today.
What potentials do you see in the certificate course “Artistic Interventions in Cultural Education” for your specialist field?
Above all with its programme “Das Fliegende Künstlerzimmer”, the Crespo Foundation seeks to support artists at the interface between art and Cultural Education and strengthen them in their professionality. The expertise this involves is to benefit the certificate course – which in turn is to benefit the artists. In addition, we look forward to the prospect of enhancing recognition and visibility of artists in Cultural Education with “Das Fliegende Künstlerzimmer” as a further education venue for the certificate course in Hesse in future.
Which changes are needed at cultural policy or education policy level to strengthen the potentials of cooperation with artists for Cultural Education in Germany?
The expertise of artists has to be more strongly integrated in the concepts, framework conditions and remuneration of formats for Cultural Education in order to further appreciate and promote the work of artists in this field. So far, they have all too often been the last link in the chain in collaborative schemes. This causes considerable losses in terms of skills and professionality, assets which actually do already exist but so far have not been sufficiently put to use. The “Artistic Interventions” are a further step in the direction of strengthening the interprofessionality of artists.
Friederike Schönhuth at “Artistic Interventions in Cultural Education”
Friederike Schönhuth is taking part in the course framework as a lecturer in Module 1: “Potentials of art for cultural education processes”. Furthermore, Friederike Schönhuth represents the Crespo Foundation as one of the project partners accompanying the pilot project. For details, see: https://kuenstlerische-interventionen.de/projektpartner/crespo-foundation/.
If you have any queries or are interested in cooperating, you are welcome to contact zertifikatskurs [at] uni-hildesheim [dot] de.
The final 33 artists from various disciplines were identified to participate in the certificate course.
After an intensive selection process by the project managers of the University of Hildesheim together with the external jurors Özlem Canyürek and Khadidiatou Bangoura, 33 participants have now been identified for the pilot course. In the selection process, special emphasis was placed on achieving the greatest possible diversity in terms of artistic disciplines, as well as age, experience and background. The heterogeneity of the group makes it possible to discuss the content of the course from a wide variety of perspectives.
Juror Özlem Canyürek emphasizes that this is “the most diverse group” she has selected so far as a juror for qualifications in the cultural sector in Germany. Due to the high response rate of 456 applications for 30 places, the organizers agreed to increase the number of participants by 10% and to admit 33 people.
An important signal for those artists who did not receive a place on the pilot course is that intensive work is already underway to establish the continuing education program at various locations in Germany.
The selected fellows will be presented on the project homepage in May with their profile as well as an insight into their artistic practice and already realized projects in cultural education.
If you are interested in further information or in participating in the transfer of the pilot project, you can find information on the website and by e-mail ( pia [dot] wagner [at] uni-hildesheim [dot] de).
Since February, the jury has been working diligently to make a suitable selection from the profiled and diverse documents. The course’s partners played a key role in the process: the Federal Association of Cultural Agents for Creative Schools, CRESPO Foundation – The Flying Artist’s Room, TUSCH Hamburg, the KLAUS art lab, LesArt Berlin Center for Children’s and Youth Literature, TanzZeit Berlin e. V. and the Future Lab of the Deutsche Kammerphilharmonie Bremen, as well as the Education and Outreach Department of Documenta and Museum Fridericianum GgmbH.
Around 90 applicants have now been invited to selection interviews in order to determine the final 30 scholarship holders. To support the jury during the selection interviews, the expertise of two external jurors, Khadidiatou Bangoura and Özlem Canyürek, will be called upon.
Khadidiatou Rachel Bangoura is a native of Liberia and Guinea. She was born in France and moved to Germany at the age of seven. After a BA in International Relations & Development Studies and an MA in African Studies in London, she graduated in Contemporary Dance (Danceworks Berlin) in October 2017. She works as a freelance choreographer and dancer with Jan Pusch, Okwui Okpokwasili, Ester Ambrosino (Tanztheater Erfurt), Rafaële Giovanola (Cocoon Dance), Lin Verleger (Comedia Theater) and Ives Thuwis-De Leeuw (Junges Ensemble Stuttgart), among others.
Dr. des. Özlem Canyürek Dr. des. Özlem Canyürek studied sociology, cultural management and cultural policy in Istanbul. In 2021, she received her PhD in Cultural Studies and Aesthetic Practice from the Institute for Cultural Policy at the University of Hildesheim with a thesis on “Cultural Diversity in Motion. Rethinking Cultural Policy and Performing Arts in an Intercultural Society.” She currently works as a freelance cultural policy researcher and lecturer. She is the contact person for the intersectional diversity framework of the PostHeimat network, funded by the German Federal Cultural Foundation. She is a member of GLOSACI.
HERE ARE THE DATES OF THE CERTIFICATE PROGRAM 2021/22:
Module 1
September 24 – 26, 2021
Location: Bundesakademie für Kulturelle Bildung Wolfenbüttel
Module 2
November 05 – 07, 2021
Location: Bundesakademie für Kulturelle Bildung Wolfenbüttel
Module 3
December 10 – 12, 2021
Location: Bundesakademie für Kulturelle Bildung Wolfenbüttel
Module 4
January 28 – 30, 2022
Location: Bundesakademie für Kulturelle Bildung Wolfenbüttel
Module 5
March 11 – 13, 2022
Location: Bundesakademie für Kulturelle Bildung Wolfenbüttel
Module 6
April 08 – 10, 2022
Location: Bundesakademie für Kulturelle Bildung Wolfenbüttel
Module 7
June 21 – 23, 2022
Location: documenta fifteen in Kassel
Module 8
July 15 – 17, 2022
Location: Bundesakademie für Kulturelle Bildung Wolfenbüttel
Artistic Interventions in Cultural Education – qualified training and certification for arts practitioners from the artistic disciplines of architecture, visual arts, design, film, photography, literature, media, music, performance, sound, theater, contemporary dance, circus, and other fields.
A Germany-wide certification course developed by the Institute for Cultural Policy of the Department of Cultural Studies and Aesthetic Communication at the University of Hildesheim in close cooperation with practice partners, offers a total of thirty arts practitioners from various artistic fields the opportunity to become qualified professionals in practice-based, cultural education work at schools and other organizations. With certification, participants will also be able to work in education in museums, theaters, dance and opera stages, orchestras, youth centers or at festivals. In addition, participants will receive training to become trainers themselves of future Artistic Interventions in Cultural Education certification courses.