Künstlerhaus Bethanien
--- siehe unten für die deutsche Fassung ---
The Künstlerhaus Bethanien, one of the first residency programmes worldwide of this kind, can look back on a long and successful history of promoting emerging artists on an international level. It is an established player within the Berlin and international art scene since 1974.
The artistic orientation of our programme includes all kinds of artistic media and practises. The Künstlerhaus offers a worldwide unique combination of studio and exhibition spaces as well as state-of-the-art workshops for wood, metal, spray-paint, video-editing. Further support is offered in publishing catalogues and artist-books. Additionally – aside from technical, curatorial and PR support for solo exhibitions and public Open Studio events –, an individual programme of studio visits, in-house events and professional coaching is arranged.
The Künstlerhaus is located in a landmarked building complex, situated in the very heart of Berlin in the trendy neighbourhood of Kreuzberg.
Its work is subsidized by the Department for Culture and Europe of the Senate of Berlin as well as multiple renowned partners all over the world. The artists are selected in coordination with the partners, focusing on discourse oriented thinking and challenging original positions. Partners range from cultural institutions, foundations, companies and galleries to collectors as well as private persons. Direct applications are not possible.
Participants in the International Studio Programme are given the opportunity to develop and implement a project over a fixed period of time, and to reflect on- and consolidate their position in the Berlin art scene. The work of the Künstlerhaus is particularly characterized by the individual support and networking of the residency holders with the Berlin art scene.
Artists receive a monthly support from the sponsored grant during their stay. The grant also covers the studio and material costs, as well as a project presentation. As a rule, the artists' projects are presented to the public in the exhibition spaces of the Künstlerhaus Bethanien.
--------
Das Künstlerhaus Bethanien, eines der ersten Residenzprogramme weltweit, blickt auf eine lange und erfolgreiche Geschichte der Förderung junger Künstler auf internationaler Ebene zurück. Seit 1974 ist es in der Berliner und internationalen Kunstszene eine feste Größe.
Die Ausrichtung unseres Programms umfasst unterschiedlichste Arten von künstlerischen Medien und Praktiken. Das Künstlerhaus bietet eine weltweit einzigartige Kombination aus Atelier- und Ausstellungsräumen sowie modernsten Werkstätten für Holz, Metall, Sprühlackierung, Videobearbeitung. Weitere Unterstützung wird bei der Herausgabe von Katalogen und Künstlerbüchern angeboten. Zusätzlich wird – neben der technischen, kuratorischen und PR-Unterstützung von Einzelausstellungen und öffentlichen Open-Studio-Veranstaltungen – ein individuelles Programm aus Studiobesuchen, Inhouse-Events und professionellem Coaching zusammengestellt.
Das Künstlerhaus befindet sich in einem denkmalgeschützten Gebäudekomplex im Herzen Berlins im Trendviertel zwischen Kreuzberg und Neukölln.
Seine Arbeit wird von der Senatsverwaltung für Kultur und Europa des Berliner Senats sowie von mehreren renommierten Partnern in der ganzen Welt gefördert. Die Künstler werden in Abstimmung mit den Partnern ausgewählt, wobei der Schwerpunkt auf diskursorientiertem Denken und anspruchsvollen künstlerischen Positionen liegt. Die Partner reichen von kulturellen Institutionen, Stiftungen, Unternehmen und Galerien über Sammler bis hin zu Privatpersonen. Direkte Bewerbungen sind nicht möglich.
Die Teilnehmer des Internationalen Atelierprogramms erhalten die Möglichkeit, ein Projekt über einen bestimmten Zeitraum zu entwickeln und umzusetzen sowie ihre Position in der Berliner Kunstszene zu reflektieren und zu festigen. Die Arbeit des Künstlerhauses zeichnet sich insbesondere durch die individuelle Betreuung und Vernetzung der Stipendiaten mit der Berliner Kunstszene aus.
Künstler erhalten während ihres Aufenthalts eine monatliche Unterstützung über das gesponserte Stipendium. Der Zuschuss deckt weiterhin die Atelier- und Materialkosten sowie eine Projektpräsentation. In der Regel werden die Künstlerprojekte in den Ausstellungsräumen des Künstlerhauses Bethanien der Öffentlichkeit präsentiert.
Bemerkungen
2020 no Event? sleeping facebook Seite!😭
Notes on the public discussion “Between Afrofuturism and Milky Way Traffic Regulations” held in Künstlerhaus Bethanien on September 2, 2019
As some of you might know, Künstlerhaus Bethanien (from now on will be referred as KB) held yesterday a public discussion to address the criticisms raised against their current exhibition "Milchstraßenverkehrsordnung (Space is the Place)”. As their first reaction to the criticisms was non-transparently changing their original press release, this initiative of them seemed like a more transparent act, so I went there. My hope for an equal and understanding discussion was enhanced when I saw the print-outs of the strong statement made by the intersectional feminist group Soup du Jour (from now on will be referred as SdJ) on the info desk at the entrance but my hope had been brutally smashed once the gentlemen of the night took over the stage.
The night started with two individual input from two artists (I am sorry I cannot remember their name, nor find it in the event page) but as I understood later on from the speech of Mr. Tannert, the curator of the exhibition, they volunteered to speak on the stage by taking personal contact with Mr. Tannert.
Firs speaker had a very didactic discourse and chose to sit in a way to look at Mr. Tannert’s table instead of turning his face to the audience. I would expect a panelist who volunteer to talk on such a topic to face the audience but his later words would prove that probably Mr. Tannert was the only person in the room he was taking serious. He started his speech blaming SdJ of using the term “violence” wrongly by quoting a shallow definitions of physical violence. It seemed like this person had quite some problem understanding what “systemic or structural violence” means. He indirectly implied the intervention of SdJ fascistic and paid tribute to one of the most common male discourses my lovely female comrades would know very well, “THE BIG PICTURE”. With this, he wanted to say “ah you ladies and minorities, stop your fight about feminism or representation, we have other issues to tackle…” When I later took the mic and mentioned my disappointment of both male speakers’ agitating command of looking at the BIG PICTURE (what I have heard 101010 times in the left circles I was hanging out before), he looked at me with empty eyes and gave no answer. He didn’t address any of the clear questions aroused in the Facebook Post Statement of SdJ published on July 29, 2019 and he seemed to have null understanding of what the criticism is actually about or what the word “representation” means. Long story short, the first speaker contributed no productive input.
The second speaker managed only one thing: Characterising the HATE of an antifeminist who somehow managed to find a place for himself in the art world. I strongly suggest him to contact Lars von Trier or some other douche bag and continue his career being a public women hater cause he is verrrryy good at that. The aggressive tone of this speaker was making it very difficult for me follow the words blurring in his speech which was more like an antifeminist stream of consciousness. His anger was so intense, his whole upper body was moving on the elegant chair and I was afraid for a while that the chair would break. His negative energy was overshadowing my very entspannt mood. I was hoping so much the 3 weeks I spent in the Mediterranean nature would be my energy bank for some time in Berlin but it got all sucked up by this person, but no worries, I have Yoga and Feminism to charge my brain and soul with positivism. This person said he personally knows and works with some of the members of SdJ. And later in his speech, he said these people don’t have enough knowledge or background in art. Most of the members of SdJ are anonymous so I require this person to give names who he was referring to and how on earth he sees himself competent to score someone’s knowledge of art! This person said, if SdJ was so disturbed by the artists (18 white men, 3 white women, 1 artist of colour) represented in the related exhibition, SdJ should have suggested other artists. I said, SdJ is not the curator of the exhibition, Mr. Tannert is! This person said, the members of SdJ and similar collectives want to gain reputation through their campaigns like “Whitey on the Moon”. Once again, most of the members of SdJ want to stay anonymous. This person said, “you know, you got the last two Berlin Biannele and the Documenta, why can you not be happy with that? Why do you attack a small exhibition like this one”. I said “our principles are not according to the scale” This person didn’t understand it. Oh, of course this man also required all feminists to look at the BIG PICTURE! This person later came to me in person outside of the room the public discussion was taking place and asked my name, I didn’t tell him my name.
In the second part of the meeting, Mr. Tannert answered the questions of Mr. Adebisi. I couldn’t hear any honest self-criticism from Mr. Tannert. The only thing I understood from himself is that he quite likes Sun Ra, probably that’s the only thing we have in common. Mr. Tannert organised a public discussion with a promise to address the concerns about his exhibition but he didn’t! So, I rephrase the questions asked in the statement of SdJ once again:
Why in particular are you crediting Elon Musk in a afrofuturism exhibition, Mr. Tannert? If you are a real fan of Sun Ra, don’t you feel ashamed in trying to harmonise the heritage of Sun Ra with a white male megalomaniac’s dystopian dream of colonising the space????
Why there is not one BPOC artist in an exhibition called “afrofuturism”?
Why there was only men talking on the stage? Was it too difficult to collaborate with a FLTI speaker?
Why did you call SdJ “Coup du Jour”? I got the impression from your speech that you choose your words quite carefully and take your time and speak quite slowly. So, it makes me question if it was slip of the tongue or the expression of your real thoughts? At least, you were being honest for once, so I guess, thank you for that !
Why did you describe Mr. Adebisi’s moderation a “performance”????? As a high intellectual man, I am sure you understand what this means. By describing his talk and moderation a performance, you patronise his stance and create an unequal platform and imply at the end of the day, your speech is the real one, right?
There were two nice moments from last night. When one of the BPOC audiences took the mic and shared his experiences in Germany like being asked all the time "where he actually comes from" and when I could talk, meet and hug 4 beautiful women after the the talk and have a quality talk in 10 minutes unlike the three hours torture show organised by KB!
There are def. much more problems to highlight from last night but I didn’t attend the talk as a journalist and got quite weary of the second speaker’s hate so this is all I could write. If you want to criticise, suggest edits or fill up gaps, please feel free to do so!
Love,
Merve
Art lovers or simply curious, next October a great chance to meet directly artists and discover their works without intermediary. It's Accessible Art Fair. More than 60 artists from all over the world will be gathered together for three days: from Vietnam to USA, from Israel to Bosnia and of course many Belgian artists. Don't miss it!
Open Studios
A flipper, squared vaginas,
Hermannplatz, döner kebap,
No Access
El reflejo del tiempo,
Cards are finished, sorry.
-Is it a rubbish bin?
-It could be anything.
A painting Pluto
Kunst Kunst Kunst
Looking for an Ausgang.
Open Studios
Pop-Poem
Open Studios
Pop-Poem
Open Studios
Pop-Poem
The Künstlerhaus Bethanien is an international artist residency programme and exhibition space that is in an established player within the Berlin and international art scene since 1974.
