
Kuesti Fraun

Armando Navarro
Désiré
Louise Ronk-Sengès
Max Kaario
Aubin Robert

Leonie Scheidt
Kuesti Fraun
Armando Navarro
Désiré
Louise Ronk-Sengès
Max Kaario
Aubin Robert
Leonie Scheidt
[check out the map]
Ongoing Opening
Kunsthalle
Speckstein – Seifenstein
[art mediation station]
Desirée Hieronimus
ab Eröffnung
A soft stone. Do something with it.
play hard, work hard
Leonie Scheidt
Espresso-Studio
Hasestraße 34
Work, work, work. Not earning money. Work, work, work. Earn a little money. Work, work, work. Earn more money?
Try the Drops
[art mediation station]
Ella Malin Visse
Theresa Vodde
Gildewart Platz
Rißmüllerplatz (an der Kunsthalle)
Nikolaiort (nähe Hirsch Apotheke)
Marktplatz
Kreuzung Öwer de Hase
Georgstraße (Fußgängerzone)
Try the drop. Suck it performatively. Because even a drop can be sucked performatively! A rich saliva flow is quite nice for sucking drops - but practice makes perfect. And that's what you get here. Performative exercise for body, mind and palate. Share your drop experiences with others by sending a photo to application@youngurbanperformances.de or via Instagram to young.urban.performances.
Little baggy
Kuesti Fraun
GO Strange
Redlingerstraße 5
As a little boy I always wanted to have a dog, but we couldn't afford it. So I just bought a bag, it's almost the same thing. Come on, little bag, let's go for a walk.
A cinematic experiment, "environ-mental", in the best sense, about what surrounds us, about imagination and assertion, and perception that can become reality.
I know you since many years
Aanchel Kapoor
An der Katharinenkirche
Women* of Color and Black women* in Germany have had real and continuous experiences of racism and sexism from an early age on. Everyday and everywhere you take the right to attack and to be contemptuous: through your questions, your degrading glances, your infringements, your denials, your natural presence, your white normality, your looking away, your silence, your perspective.
†een▲ge g☺d
Armando Navarro
Désiré
Louise Ronk-Sengès
Max Kaario
Aubin Robert
Start: Gildewartplatz
Ende: Ledenhof
Britney Spears’ suicide cult.
Justin Bieber shot in the face by Genesis P-Orridge.
Doomsday supermarket pop mixed with sarin gas.
Mantra = There are 7 ways to clean hands, 7 ways to clean feet,
7 ways to clean hair, 7 ways to clean ears, 7 ways to clean teeth,
7 ways to clean tongues, 7 ways to clean eyes.
The Young Urban Performances collective consists of seven equal members. We got to know each other while studying Art and Art Education at the University of Osnabrück. Since the founding of the collective in spring 2017, our form of collaboration has changed considerably, as we now work from different locations within the German-speaking world.
We are dedicated to the conception and realization of various cultural events. We focus on the exhibition and strengthening of Performance Art in institutional, non-institutional and public spaces. In the past years we have been able to organize an annual festival, in which european as well as artists from different parts of the world have participated. In addition, we have organized a number of other events with a performative and mediating approach.
With our work we support emerging talents in the field of Performance Art. We offer artists a platform for the presentation of their work, an entry into the art market by valuing their work in a monetary way and an opportunity for exchange and networking.
Any Questions? Send us an email: info@youngurbanperformances.de
Lives in Leipzig since 2017 and completed her master's degree in art education in 2019. She worked as an art mediator at various institutions and has been working as an education officer for the organization of cultural education projects (LKJ Sachsen e.V.) since January 2020.
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Holds a master's degree in Art Education and begins training as a child and youth psychotherapist. She works at the Unikatum Children's Museum and was involved in the children's newspaper Flippo of the GfZK in Leipzig. She is a board member of the Kunstverein gegenwart e.V. and participates in various Art Education projects.
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Since 2019 she has been studying in Switzerland for a Master of Art Education with a focus on Curatorial Studies at the Zurich University of the Arts. She is involved in various projects as a freelance curator and art mediator.
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Studied Art/ Art Education and History at the University of Osnabrück. In addition to her studies, she is active as an artist and curator.
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Has been a research assistant at the University of Osnabrück since 2020 and is working on her doctoral thesis on Hannah Arendt. In addition, Visse works as a freelance artist under the pseudonym Joran Yonis and is curatorially active in various exhibition formats.
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Lives in Kiel and studies fine arts at the Muthesius Academy of Art and the master's program in Migration and Diversity at the CAU. She works as a freelance art educator at various institutions.
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Has completed her master's degree in Art Education and is now working increasingly with children and young people in various contexts. She is also involved in other projects in Art Education.
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Herakles 2 or OVER-DETERMINED • Herakles 2 or OVER-DETERMINED entstand 2016 im Kontext eines erneuten Erstarken offener rassistischer Gewalt und völkischem Heimatdenkens. Salonfähig für die breite Öffentlichkeit gemacht durch die Medialisierung von Silvester 2016 und vorbereitet durch die andauernde Hetze gegen Geflüchtete im Sommer und Herbst 2015 durch die AfD. Die Performance ist Teil einer Reihe von sich mit Diskriminierungen auseinandersetzenden Stücken dieser Jahre, aus der Perspektive von Betroffenen, die sich in der Kulturlandschaft nicht willkommen und repräsentiert sahen und sehen. 2020 hat sich der Kontext verschoben. Der größte rechte Anschlag in Deutschland seit 1980 hat im Februar 2020, zwei Wochen nachdem in Thüringen in FDP Ministerpräsident mit Duldung der CDU von der Afd ins Amt gehoben wurde, stattgefunden. Die weiße Öffentlichkeit feierte trotzdem Karneval und schwadronierte von Linker Gewalt und kranken Einzeltätern. Herakles 2 or OVER-DETERMINED arbeitet sich an den alltäglichen Mikroaggressionen ab, die sowohl Boden für, als auch Ergebnis der Rassistischen, Sexistischen, Antisemitischen und Ableistischen Gewalt in Halle, Hanau, an Geflüchteten Unterkünften und in Rassistischen Polizeikontrollen ist. Gleichzeitig ist es eine Gegenwartsbewältigung, eine kämpferischer Aufforderung zu intersektionaler Solidarität.
„Please do not touch the artwork!“ • Im September 2017, zu Mittag, im Zentrum von Wien, auf einer bekannten Einkaufsstraße. Mein Assistent schiebt mit einer Hand meinen Rollstuhl, auf dem ich unbekleidet sitze, in die Mitte der Straße. In der anderen Hand trägt mein Helfer im schwarzen Anzug einen Stuhl, auf dem er platz nimmt, sobald ich positioniert bin. Ich richte mich vom Rollstuhl auf, um selbst auf beiden Beinen zu stehen. Sobald ich die Stütze verlasse, sinke ich auf den kalten Asphalt. Während ich mich nackt bemühe zurück in den Sitz zu kommen, sind Passanten verständlicherweise irritiert. Manche versuchen das Geschehen im nächsten Augenblick zu ignorieren. Kinder sind überraschend unbeeindruckt. Schaulustige beobachten das Spektakel aus sicherer Entfernung. Einige Fußgänger richten sich an den gepflegt angezogenen Mann an meiner Seite, um ihre Hilfe anzubieten, da es niemand wagt, mich direkt anzusprechen. Doch meine Begleitung informiert nur: “das Kunstwerk bitte nicht berühren!“, wie ein Museumswächter. Wenige fragen mich zögernd persönlich, ob ich Hilfe benötige, doch ich schweige. Damit bringe ich die Leute in die schwierige Lage nicht helfen zu "dürfen", da ich Hilfe nicht zulasse und meinerseits die Umwelt ignoriere. Empört über die Zurschaustellung eines erniedrigten Mannes in auswegloser Situation, wird schlussendlich mein Assistent dafür meine verantwortlich gemacht. Die Polizei wird gerufen und auf ihn gehetzt. Er kann entkommen. Ich selbst werde nicht belangt.
242 TITEL BESSER ALS MARTIN KIPPENBERGER • Martin Kippenberger veröffentlichte 1986 das Buch „241 Bildtitel zum Ausleihen für Künstler“. Ausgehend von dieser Idee hat die Frankfurter Hauptschule eine eigene Sammlung von Titeln für Kunstwerke, die es nicht gibt, angelegt und verfilmt: 242 TITEL BESSER ALS MARTIN KIPPENBERGER. Zu Videofetzen, die junge Menschen beim Feiern, Drogen nehmen oder Autos anzünden zeigen, liest und hört man raffinierte postmoderne Sprachspiele, sarkastische Anrufungen der Nazizeit und puren Klamauk; jeweils auf Titelformat verdichtet und im Hochkant-Format präsentiert - ein
Umgang mit Bild und Text, der mittlerweile bei Instagram oder Twitter der gängige ist. Die Videoarbeit wurde bislang in Frankfurt, Hamburg, Leipzig, Gießen und Osnabrück ausgestellt.
Forum Osnabrück für Kultur und Soziales e. V.
Große Gildewart 6-9
49074 Osnabrück
Telefon: +49 541 28956
Telefax: +49 541 28957
Internet: fokus-os.de
Vertretungsberechtigter Vorstand: Hubertus Wilker (1. Vorsitzender), Linda Effertz, Katharina Opladen, Joachim Groneberg, Klaus Tecklenburg
Registergericht: Amtsgericht Osnabrück
Registernummer: VR Nr. 2412
Inhaltlich Verantwortlicher gemäß § 10 Absatz 3 MDStV:
Hubertus Wilker
Haftungshinweis: Trotz sorgfältiger inhaltlicher Kontrolle übernehmen wir keine Haftung für die Inhalte externer Links. Für den Inhalt der verlinkten Seiten sind ausschließlich deren Betreiber verantwortlich.
Design & Performa-font:
Nils Hölscher
Code:
Joscha Brüning
Please keep a distance of 1,5m to each other. Wear your mask. Stay healthy and care for the health of others.
Stay safe!
After Corona: back to normality?
This is a sentence that runs through the reporting on the current situation in connection with the Covid-19 crisis. What does it mean?
What normality is at stake? Who determines what is normal and what lies outside of it? What did the realities look like before the first lockdown? Do we want to go back there? Can one even speak of an "after"?
Life, habits, perceptions and actions have had to change, undeniably with varying intensity, yet they have changed. A return to the status before Corona is unlikely, not even for us.
In the field of cultural work, a return to normality is not possible. The time of the lockdown has had such a massive impact on the lives of artists* and cultural workers - both positive and negative. Events still cannot take place as usual and security concepts have to be worked out. We see the necessity and think it’s important.
As a curatorial collective, we want to avoid a commentary-free continuation of old strands and strategies, in the forms and formats of presentation. We want to set an example and therefore try out a new format.
At present we cannot offer answers to the big questions, also this is not necessarily our task. However, we do take our responsibility, in our small space of possibilities, to point out the change and intensification of problems in people's life situation and to create a space in which this can be thematized. We want to use our privileged situation to strengthen these positions, to withdraw. To offer a platform to those who are quiet and those who are made quiet. We now take a step back and want to rearrange together with artists what needs to be considered, which topics are important now. We want to question whether the path we as curators have taken so far is the right one. A time of reflection. For us, this is an important step that should avoid a hasty rush. Because in rushing to act, often only the goal is seen and what is outside our own field of vision is not considered.
We do not only ask ourselves who is speaking, as an artist, but who is perceiving? Who is the audience? In our case, who perceives us in the Osnabrück area? Often the same people who are otherwise represented in the cultural space. That's why it seems to make sense for us to step outwards to address people who feel less represented in the institutional cultural context.