Team

  • Andrea Caroline Keppler

    Andrea Caroline Keppler is the project manager and co-curator of District Berlin. She holds an M.A. in history of art and cultural studies (University of Leipzig and University of Rome “La Sapienza”). In her career, she has worked at ZKM Karlsruhe, at Institut Mathildenhöhe Darmstadt, at Raussmüller Collection Basel, and Hallen für Neue Kunst in Schaffhausen. She curated the exhibition projects Trümmerberg Kilimanjaro (2016) and Art of the Revolt // The Revolt of Art (2018) among others. She is co-initiator of the intersectional alliance Decolonizing 68 and Feminist Curating. Her current interest lies in the artistic examination of the political and cultural visions and discourses of the 1960s.

  • Dana Andrei

    Dana Andrei worked as a research assistant for D’EST Prologue: O’ Mystical East and West until July 2016. She was part of the team for the curatorial program Salonul de Proiecte (initiated by Alexandra Croitoru and Magda Radu, together with Ștefan Sava) between 2012 and 2015 and has been collaborating in various forms with the curatorial team of Atelier 35 (Xandra Popescu and Larisa Crunțeanu) since 2015. She is the editor of the publications Dear Money and In Search of the Social Body of the Soviet Artist by Tatiana Fiodorova. Together with Sorin Popescu and Raluca Voinea, she is the founder and editor of Corner Magazine.

  • Johanna Ekenhorst

    Johanna Ekenhorst is a student of Art History and English Cultural Studies at the University of Leipzig, currently writing her BA thesis on the reception of Afghan War Rugs carrying 9/11 imagery. In 2015 she was involved in Henrike Naumann’s project The Museum of Trance. During her studies she co-curated the supporting program of the 91st Kunsthistorischer Studierendenkongress 2016 in Leipzig under the title Vermeintlich anders – Das Fremde in der Kunst and assisted in the inaugural edition of Shanghai Project, a multidisciplinary ideas platform organized by Shanghai Himalayas Museum. Since 2017, she has worked at District Berlin as its public relations manager, as head of communication for D’EST and as an assistant for Discoteca Flaming Star.

  • Madalena B. Guerra

    Madalena B. Guerra is a Portuguese graphic designer. Based in Lisbon, her practice works between Lisbon, London, and Berlin with a wide range of people and small businesses from the fields of art, architecture, film, and culture. Past and current collaborations include projects with curator Marta Jecu, fashion label Wool and the Gang, Modem Studio, Jenny Sabin Studio, uncube magazine, and Barnbrook Studio. She studied communication design and new media at University of Fine Arts in Lisbon (B.A. 2010 and M.A. 2013) and graduated with a thesis entitled Open Work: Alienation as a Form of Critical Discourse for Communication Design. She is currently organizing an artist-in-residence summer program in Portugal and, starting 2018, is working as a Modem Studio member for D’EST.

    www.modem.ws
  • Naomi Hennig

    Naomi Hennig lives in Berlin, where she works as researcher, artist, curator, editor, and project coordinator for D’EST. She graduated from ECA Edinburgh and UdK Berlin and has since been involved in a number of artist-run initiatives. She collaborated in curatorial projects including an exhibition on the Artist Placement Group (APG) with Ulrike Jordan, presented at Kunstraum Kreuzberg / Bethanien, Berlin, and Summerhall, Edinburgh (2015/16). She co-curated the research and exhibition project Spaceship Yugoslavia at nGbK Berlin in 2012. Between 2013 and 2015, she organized the exhibition program at Galerie im Turm. Her artistic and curatorial research revolves around the memorialization of political micro-histories, as well as the relationships of place, history, ecology, and economy.

    www.naomihennig.com
  • Pieterjan Grandry

    Pieterjan Grandry is a Belgian graphic designer living and working in Berlin. His office, Modem Studio, works for a wide range of international clients and operates in the fields of print and web design. Next to his practice as graphic designer, Pieterjan founded Crap is Good, a blog dedicated to documenting and describing contemporary visual culture by focusing on non-client-based experimental work. The blog extends into publishing, issuing under the name Crap is Good Press. He also founded the t-shirt label ‘yoshimi’, is co-founder of architecture collective ‘Collective Disaster’ and created the D’EST website.

    www.modem.ws
  • Selene States

    Selene States is an artist, translator and editor for D’EST. She studied fine art, art history, theater and film studies at UC Berkeley, University of Heidelberg, Royal Danish Academy of Fine Arts, UCLA and State Academy of Fine Arts Karlsruhe. Her PhD in art and design at the Bauhaus University draws on practice-based approaches to dress studies and proposes the design and exhibition of an ‘authentic’ collection of modernist women’s pants from the interwar period. Her study of retro-nostalgic artifacts and narratives extends to States’ feminist performance, video, and installation practice, exhibited at the Kunsthalle Baden-Baden, l’Aubette Strasbourg, Milton Keynes Gallery among others.

    selenestates.com
  • Suza Husse

    Suza Husse is interested in queer, feminist, and decolonial approaches to bodies, socialities, ecologies, and histories. Since 2012, she has been working as the artistic director of the interdisciplinary art space District Berlin with an emphasis on artistic research, collaborative practices, public space, critical education, and political imagination. In 2016 she co-founded the experimental publishing collective The Many Headed Hydra with artist Emma Haugh. She is currently a guest professor at the University of Arts Berlin where she initiated Sister Stones and Blocks of Anger. Queer Petrographies – a collective artistic inquiry into diasporic rocks in Berlin.

  • Ulrike Gerhardt

    Ulrike Gerhardt is the artistic director of D’EST. As a cultural studies scholar and curator, she is currently researching cultural memory concerning post-socialist transformation within the framework of her PhD project Language, Body, Indices. Cultural Memory on the Transformation in Post-Socialist Video Art. For this, she is analyzing the ways in which video works by female artists and collectives deal with language, corporeality, and cultural indices. In 2017 she co-organized the public seminar Female Identities in the Post-Utopian. Perspectives on Post-Socialism from Art and Theory (with Prof. Lene Markusen) as well as the international conference (Hi)Stories in Art after the End of the Cold War (with Prof. Dr. Melanie Franke).

  • Vlad Anghel

    Vlad Anghel was the assistant curator and co-producer of D’EST Prologue: O’ Mystical East and West (2016) and works as a multidisciplinary artist in Berlin and Bucharest. His practice is located at the intersection between art, design and technology. He studied Cybernetics, Statistics and Economic Informatics at the Academy of Economic Studies in Bucharest. In his work, he often appropriates obsolete 3-D aesthetics as well as surrealist references and creates virtual environments that can be described as magical realism.

    vladanghel.com
  • Xandra Popescu

    Xandra Popescu is the curator and producer of the screening chapter and initial website D’EST Prologue: O’ Mystical East and West (2016). She works as a writer, filmmaker, and curator in Berlin and Bucharest. From 2012 to 2016, together with Larisa Crunțeanu she led Atelier 35, one of the most active project spaces in Bucharest. She has a background in political science and philosophy and studied dramatic writing at the National Film and Theater University in Bucharest. Popescu has written for cinema and works as a filmmaker at the intersection of the narrative and the visual. Currently she is in the process of setting up Eroika, a production framework for female artists and directors from the former East.

    www.xandrapopescu.com

Guests

  • Alla Mitrofanova

    Alla Mitrofanova is a critic and philosopher working with media art, new ontologies, and feminist philosophy. She was active in the 90s cyberfeminist movement: a co-founder of the Cyberfemin Club in St. Petersburg (1994) and a member of Cyberfeminist International. He writes and lectures on contemporary philosophy, the theory of feminism, science, art, and performance. They live and work in St. Petersburg.

  • Ilmira Bolotyan

    Ilmira Bolotyan, born in Chuvashia, is an artist and curator with a PhD in philology. She was a co-founder of the artist-run space Centre Red. Her paintings and graphic works explore figurative anthropomorphic imagery, as well as studies of the representation of gender and ‘femininity’ in contemporary visual culture. In her participatory projects, she creates different social situations. In 2018 she was nominated for the Sergey Kuryokhin Contemporary Art Award in the category ‘The Best Visual Art Project.’

    www.ilmirabolotyan.com
  • Karol Radziszewski

    Karol Radziszewski is a multi-disciplinary artist based in Warsaw. His archive-based methodology intersects multiple cultural, historical, religious, social, and gender references. Since 2005 he is publisher and editor-in-chief of DIK Fagazine. Founder of the Queer Archives Institute. His work has been presented in institutions such as the Museum of Modern Art, Warsaw; Whitechapel Gallery, London; Kunsthalle Wien, Vienna; New Museum, New York; Videobrasil, Sao Paulo; Cobra Museum, Amsterdam; Wroclaw Contemporary Museum; Muzeum Sztuki in Lodz. He has participated in several international biennales including PERFORMA 13, New York; 7th Göteborg Biennial; 4th Prague Biennial.

    http://www.karolradziszewski.com/

    www.district-berlin.com/en/a-body-is-an-archive
  • Margaret Tali

    Margaret Tali is a cultural theorist, art historian and occasional curator. Originally from Estonia, she now calls Rotterdam her home. She has taught art history and theory in arts academies and universities in both countries, and is currently affiliated with Amsterdam School of Cultural Analysis (ASCA), where she has also completed her doctoral studies. She is the author of Absence and Difficult Knowledge in Contemporary Art Museums (Routledge, 2018) and editor of Archives and Disobedience. Changing Tactics of Visual Culture in Eastern Europe (2016, with Tanel Rander).

    www.margarettali.net

    www.district-berlin.com/en/producing-roma-feminist-art-2
  • Mihaela Drăgan

    Mihaela Drăgan, born in 1986, is an actress and playwright who lives and works in Bucharest and Berlin. In 2014, together with other Roma actresses, she founded Giuvlipen Theater Company, for which she is an actress and playwright, a “revolutionary theater” according to Reuters. Giuvlipen’s performances have a feminist agenda and bring to life the issues of early marriage, anti-gypsyism hate speech, hyper-sexualization, eviction, and heteronormativity in order to promote discussion and critical thinking. She is currently working in Berlin at Maxim Gorki Theater. She also works as a trainer for Theater of the Oppressed where she works with Roma women on their specific issues. She is one of the six finalists for the 2017 Gilder/Coigney International Theater Award, New York.

    http://giuvlipen.com/

    www.district-berlin.com/en/producing-roma-feminist-art-2
  • Zofia nierodzińska

    Zofia nierodzińska is an artist, activist, and curator. Since May 2017 she has worked as Deputy Director at the Arsenal Municipal Gallery in Poznan. She graduated from the University of Arts in Berlin (M.A. in 2016) and the University of Arts in Poznan (2017 Ph.D) with a thesis about women at academies entitled “Where is the Academy? Critical Institution and Science Fiction, towards The Virtual Feminist University”. She is a member of Ciocia Basia collective.

    www.znierodzinska.com

    http://www.arsenal.art.pl/en/

    www.district-berlin.com/en/a-body-is-an-archive

Curators

  • Anna Bitkina

    In her curatorial practice, Anna Bitkina focuses on socio-political processes that occurred in Russia and the post-Soviet territories after the collapse of the Soviet Union. Her research looks at the local and global implications caused by the acceleration of capitalism in the region. Anna also explores the changing role of cultural workers, the possibilities of creative practices, and the agency of artists in different social spheres. In different years, she has contributed to 3rd Moscow Biennale of Contemporary Art (2009), 2nd Moscow International Biennale for Young Art (2010), 10th Manifesta Biennale (2014). She curated Nordic Art Today: Conceptual Debts, Broken Dreams, New Horizons (2011), United States of Europe (2011-2013) as well as the on-going public art project Critical Mass (2009-2017). Together with Maria Veits among others, she co-curated Propaganda News Machine: Creating Multiple Realities in the Media, and States of Control (2016-2017).



    Performing Words, Uttering Performance
  • Bettina Knaup

    Bettina Knaup works internationally as a curator with a focus on performance and gender. She was program coordinator of the International Women’s University, Hannover, co-curator of the City of Women Festival, Ljubljana, and contributed to the In Transit Festival at the House of World Cultures Berlin. Recent projects include the festivals performing proximities (Brussels) and performance platform. body affects (with S. Bake, Berlin) as well as the long term exhibition and archive project re.act.feminism #2 – a performing archive (with B. E. Stammer, Berlin, Tallinn, Gdansk, Barcelona a.o.). She is an international lecturer; since 2015, she has been a PhD research fellow at the Department of Drama, Theatre and Performance, Roehampton University, London.



    ReTopia
  • Eva Birkenstock

    After studying in Cologne, Berlin, and Havana, Eva Birkenstock has worked in various positions at the Kunstverein in Hamburg; the Halle für Kunst, Lüneburg; and Ludlow38, New York. From 2010–2016, she was curator of the KUB Arena, the KUB Billboards, and the KUB Projects at Kunsthaus Bregenz, where she edited the publications On Performance (with Joerg Franzbecker), Beginning Good. All Good (with Kerstin Stakemeier, Nina Köller), Art and Ideology After 1989 (with Max Jorge Hinderer Cruz, Jens Kastner, Ruth Sonderegger), and KAYA. Currently she is the director of the Kunstverein Düsseldorf, curator of the Performance Project of LISTE Art Fair Basel and one of the five initiators of the ongoing magazine, exhibition, and debate project Class Languages.



    The Body as an Indexical Reader
  • Inga Lāce

    Inga Lāce lives in Riga and is a curator at the Latvian Centre for Contemporary Art. She has been a curatorial fellow at de Appel arts center, Amsterdam (2015–2016), working on the research and events program Instituting Ecologies (2016). In Amsterdam she also co-curated the exhibition It Won’t Be Long Now, Comrades! at Framer Framed (2017). Lāce has been curator of the 7th, 8th and 9th edition of the contemporary art festival SURVIVAL KIT (2015–2017) and is currently working on a research project Portable Landscapes tracing and contextualizing Latvian artists’ emigration and exile stories throughout 20th century (at Villa Vassilieff, Paris, and the Latvian National Museum of Art, 2018).



    Performing Words, Uttering Performance
  • Jana Seehusen

    Jana Seehusen’s practice as an artist and writer focuses on modes of language and action in relation to concepts of in-betweenness, otherness, and transitionings. Her work in the field of art theory, aesthetic theory in film, and cultural studies relates to questions on in/visibility, subject and gender theory, and identity politics. Her most recent publications are: “Performing Documentary. Birgit Kohler im Gespräch mit Jana Seehusen” (2014), “Echo: Lauter widerständige Entwürfe. Künstlerische Praktiken von Korrespondenz und Transfer” (2015), “How to perform entangled memories: Vom Sehen im Nichtsehen” (2016). Visualität und Abstraktion. Eine Aktualisierung des Figur-Grund-Verhältnisses, with Hanne Loreck (ed.) (2017).



    The Suspension and Excess of Time
  • Jelena Vesić

    Jelena Vesić is an independent curator, writer, editor, and lecturer. She has published numerous essays exploring the relations between art and ideology. Her most recent exhibition is Story on Copy at the Akademie Schloss Solitude, Stuttgart. She also curated Lecture Performance (MoCA, Belgrade, and the Kölnischer Kunstverein) as well as the collective exhibition project Political Practices of (post-) Yugoslav Art, which critically examined art historical concepts and narratives on Yugoslav art after the dissolution of Yugoslavia. Her recent book, On Neutrality (with Vladimir Jeric Vlidi and Rachel O’Reilly) is part of the Non-Aligned Modernity edition of the Museum of Contemporary Art, Belgrade.



    We are Family
  • Kathrin Becker

    Kathrin Becker studied art history and slavic literatures at Bochum University and Leningrad State University. She is a curator and writer and head of the Video-Forum at Neuer Berliner Kunstverein (n.b.k.). Her curatorial practice focuses on the social role of art in society and on the complex of exclusion / inclusion in contemporary cultures. Her latest projects include: Claire Fontaine (n.b.k., 2017); Bani Abidi (n.b.k., 2017); Halil Altındere. Space Refugee (n.b.k., 2016); Elizabeth Price (n.b.k., 2016); Rosa Barba (n.b.k., 2016); A Sense of History (with Marius Babias, Nordstern Video Art Center, Gelsenkirchen, 2016).



    The Suspension and Excess of Time
  • Katja Kobolt

    Katja Kobolt (PhD) works on junctures of art, writing, and teaching. Katja worked for almost a decade with the City of Women Festival Ljubljana (2000-8). Katja co-founded the feminist curatorial platform Red Mined (Living Archive, 2011-15; 54. October Salon Belgrade, Endless Red Mined Symposium 2017–present). She has curated, initiated, or produced art and discursive events all over Europe. Currently she is working with a Munich collaborative art space Lothringer13 Florida and no stop non stop, a forum on post-migratory society. Katja teaches and writes on art, life, and feminism and holds a PhD on the topic of feminist canonization.

    kkobolt.wordpress.com

    ReTopia
  • Maria Veits

    Maria Veits is based in St. Petersburg and Tel Aviv, and her current interests include migration experiences and strategies of different generations and their reflection in different artistic practices (“Dreamland Never Found”, 3rd Jerusalem Biennial, 2017, TOK’s new project “Russian Bar”). She is also interested in activist practices of young artists that belong to the last soviet generation and the ways they use public space for engaging socio-political discussion (Civic Media Lab, 2016 and 2017, Dnipro, Ukraine). In 2014, Maria curated “Mobile Archive,” a collection of video works traveling across Russia from the Israeli Center for Digital Art – one of the projects that inspired D’EST.



    Performing Words, Uttering Performance
  • Miona Bogović

    Miona Bogović is a film director who works between Berlin and Belgrade. She holds a diploma in filmmaking from the German Film and TV Academy (dffb) and moves professionally between film industry productions and collaborations with visual artists. She is currently preparing her next film Der Andere Zenit / Drugačiji Zenit as part of an artist-in-residence program Pixel, Bites and Films in Vienna – supported by ORF III, arte creative, and the goEast Film Festival in Wiesbaden.



    Cosmos Cosmetics: Unresting Memoryscapes and Corpofictions
  • Naomi Hennig

    Naomi Hennig lives in Berlin, where she works as researcher, artist, curator, editor, and project coordinator. She graduated from ECA Edinburgh and UdK Berlin and has since been involved in a number of artist-run initiatives. She collaborated in curatorial projects including an exhibition on the Artist Placement Group (APG) with Ulrike Jordan, presented at Kunstraum Kreuzberg / Bethanien, Berlin, and Summerhall, Edinburgh (2015/16). She co-curated the research and exhibition project Spaceship Yugoslavia at nGbK Berlin in 2012. Between 2013 and 2015, she organized the exhibition program at Galerie im Turm.
    Her artistic and curatorial research revolves around the memorialization of political micro-histories, as well as the relationships of place, history, ecology, and economy.

    www.naomihennig.com

    The Body as an Indexical Reader
  • Nataša Ilić

    Nataša Ilić is a curator, critic, and member of the curatorial collective What, How & for Whom / WHW, formed in Zagreb in 1999. Since 2003 WHW has been directing the program of the city-owned Gallery Nova in Zagreb. Nataša Ilić has worked internationally in various contemporary art contexts. With WHW, she curated the 11th Istanbul Biennial in 2009 and the Croatian Pavilion for the Venice Biennial in 2010. Among others, the curatorial collective’s international shows include Collective Creativity (2005), Really Useful Knowledge (2014), Meeting Points 7: Ten thousand wiles and a hundred thousand tricks (2013–2014), My Sweet Little Lamb (Everything we see could also be otherwise (2016–2017)).



    We are Family
  • Suza Husse

    Suza Husse is interested in queer, feminist, and decolonial approaches to bodies, socialities, ecologies, and histories. Since 2012, she has been working as the artistic director of the interdisciplinary art space District Berlin with an emphasis on artistic research, collaborative practices, public space, critical education, and political imagination. In 2016 she co-founded the experimental publishing collective The Many Headed Hydra with artist Emma Haugh. She is currently a guest professor at the University of Arts Berlin where she initiated Sister Stones and Blocks of Anger. Queer Petrographies – a collective artistic inquiry into diasporic rocks in Berlin.



    Cosmos Cosmetics: Unresting Memoryscapes and Corpofictions
  • Suzana Milevska

    Suzana Milevska is a curator and visual culture theorist from Macedonia, currently Principal Investigator at the Politecnico di Milano (Horizon 2020). She was the Endowed Professor for Central and South European Art Histories, Academy of Fine Arts Vienna. She holds a PhD in Visual Cultures from Goldsmith’s College and was Fulbright Research Scholar. Her interests include postcolonial critique of the hegemonic regimes of representation, gender theory and feminism, and participatory art. In The Renaming Machine (2008–2011) she addressed the politics of overwriting histories and memories through renaming in arts and culture. In 2012 she won the Igor Zabel Award for Culture and Theory (2012).



    Cosmos Cosmetics: Unresting Memoryscapes and Corpofictions
  • TOK (The Creative Association of Curators)

    TOK (The Creative Association of Curators) is a female curatorial duo from St. Petersburg founded by Anna Bitkina and Maria Veits in 2010 as a platform for conducting interdisciplinary projects in the fields of contemporary art and social sciences. TOK’s research-based art and educational projects have a strong social component and deal with current issues that are widely discussed both in Russia and internationally, such as public space and citizens, the development of education, the deprivation of social resources, collective memory, the growing role of the media in global society, changing political climates, migration policies among many others.

    tok-spb.org

    Performing Words, Uttering Performance
  • Ulrike Gerhardt

    Ulrike Gerhardt is the artistic director of D’EST. As a cultural studies scholar and curator, she is currently researching cultural memory concerning post-socialist transformation within the framework of her PhD project Language, Body, Indices. Cultural Memory on the Transformation in Post-Socialist Video Art. For this, she is analyzing the ways in which video works by female artists and collectives deal with language, corporeality, and cultural indices. In 2017 she co-organized the public seminar Female Identities in the Post-Utopian. Perspectives on Post-Socialism from Art and Theory (with Prof. Lene Markusen) as well as the international conference (Hi)Stories in Art after the End of the Cold War (with Prof. Dr. Melanie Franke).



    The Body as an Indexical Reader
  • Xandra Popescu

    Xandra Popescu is the curator and producer of the screening chapter and initial website D’EST Prologue: O’ Mystical East and West (2016). She works as a writer, filmmaker, and curator in Berlin and Bucharest. From 2012 to 2016, together with Larisa Crunțeanu she led Atelier 35, one of the most active project spaces in Bucharest. She has a background in political science and philosophy and studied dramatic writing at the National Film and Theater University in Bucharest. Popescu has written for cinema and works as a filmmaker at the intersection of the narrative and the visual. Currently she is in the process of setting up Eroika, a production framework for female artists and directors from the former East.

    www.xandrapopescu.com

    D’EST Prolog: O’ Mystical East and West