»I work with traditional and contemporary art-making methods to process observations and questions I have about human and non-human relationships. Geology, ecocriticism theory, digital representations of nature, and mechanical errors inspire my compositions. My artworks utilise anthropocentric phenomena as a method to imagine a visual culture from non-human perspectives. In the studio, I work with an array of materials and techniques such as weaving, embroidery, quilting, tufting, ceramics, welding, video, 3D modeling and animation, photography, and print-making. With different materials and techniques I feel free to explore analysing the corresponding to conditions and stories of both humans and nonhumans in a time of social and ecological unrest.«
»How has culture managed to build an ecological inequality between humans and non-human bodies? Is this reversible? Why does that mountain look so damn good?«
Scientists Benjamin Dietzek-Ivanšić and Christine Kranz from Catalight will collaborate with Andrea. In order to transform solar energy into chemical reactivity, CataLight investigates the regulated coupling of molecular light-driven catalytic units with hierarchically constructed soft matter matrices. Frank Hellwig from the German Centre for Integrative Biodiversity Research (iDiv) will also be consulted.
With its major offices in Halle, Jena, and Leipzig, iDiv is a DFG research center with more than 450 employees and members. The scientific foundation for the sustainable management of our planet's biodiversity is created here by researchers from 40 different nations.
»I am working as a media artist at the intersections of different forms of staging in the context of the moving image with new media. My artistic research focuses on the exploration of processes, mechanisms, and ethical aspects of new technologies and their effects in complex systems.«
Kathrin Hunze is a media artist and master student as well as a graduate of the Art & Media programme, at the Berlin University of the Arts, studied communication design at the Hamburg University of Applied Sciences. She is a lecturer in Fashion Design, Art & Media, at the Berlin University of the Arts. She is a board member of the Medienkunstverein Berlin and a member of the collectives nox&honig, KateHack and raumperspektive.
Scientists Zimai Li and Baptiste Piqueret from the Max Planck Institute for Chemical Ecology's Lise-Meitner Research Group on Social Behaviour will collaborate with Kathrin on this project.
The research uses a novel system, the clonal raider ant, whose peculiar biology enables us to accurately control and recreate colony composition. This system incorporates laboratory trials with live ant colonies, computational evaluations of individual and collective behavior, and molecular techniques.
Art is the most radical form of basic research. I am grateful for an european art history of autonomy and invasive progression to make sure there are no interests or disciplinary boundaries
compromising this radicality of art. As of now art is a practice of invoking radical futures. I am very aware that there are different constructions of art and freedom, which are nevertheless effective in economic and perhaps even innovative regimes of production. However I believe to make sense of the world in the 21st century and to assemble a vision for the future it is indispensable to enable radical thinking, which a western conception of art can provide. Radicality must not mean to loose touch with observable reality, on the contrary radicality must be grounded in scientific knowledge. To think out of the box, you need a box first. To forget this means to eternally postpone any revolution or only let it play out theoretically. To live up to the responsibilities of art means to cooperate with the sciences, NGOs and politics. In my recent works I worked with experts from electron microscopy, cricular economy, bioethics, policy analysis, complex systems and the life sciences to produce films, sounds, objects and narratives gathered around human responsibility and dominion of our biosphere.
Claus is supported by researchers from the Max Planck Institute for Biogeochemistry. Firstly, Melissa Ruiz-Vásquez from the Hydrology - Biosphere - Climate Interactions research group. The group aims to improve the understanding of the hydrology-biosphere-atmosphere system by combining climate modelling with the analysis of observational (based) data. Secondly, Annu Panwar of the Climate, Ecosystems and Disturbances Research Group.
The Climate-Ecosystem-Disturbance Interactions group focuses on the links between climate variability and change, disturbance regimes and ecosystem structure and functioning at regional to global scales.
Ulrich Formann (b. 1996) is a multi-disciplinary and conceptual media artist. He has graduated at the University of Applied Arts Vienna in Digital Arts. Through the means of coding, reverse-engineering and hardware-hacking he aims to explore the limits and flip sides of technology on a finite planet.
Uli will be working with Birgitta König-Ries and Roman Gerlach from FUnctionality Sharing In Open eNvironments - FUSION. The central theme of their work is the transparent, integrated use of resources in open, heterogeneous and dynamic environments. He will also consult Conrad Philipp from ELLIS Jena. At its core, the ELLIS Unit Jena's research is motivated by a desire to explore how environmental and climate science can benefit from machine learning and AI advances to gain a better understanding of Earth's dynamic systems
»I thematise human's ongoing pursuit of optimization in my artistic work. I look at how dichotomies like "better" and "worse" or "efficient" and "inefficient" affect the environment of people and, ultimately, how people are. To achieve this, I make sculptures out of materials that are mostly practical and inspired by commonplace items. In order to portray the fundamental tensions and inconsistencies of contemporary society, I establish an absurd logic by synthesising utility and dysfunctionality within these things.«
On a teaching degree, Lisa Hopf studied free art at the Bauhaus University in Weimar along with mathematics, art, and philosophy. The Jena-based artist has already taken part in the "Künstlerische Tatsachen" residency in 2022. In collaboration with the Leibniz-IPHT and the Institute for Biological Psychology and Cognitive Neuroscience at the University of Jena, she creatively questioned the impact that human perception's optimization processes have on the adaptability of human thinking and understanding.
»I work with traditional and contemporary art-making methods to process observations and questions I have about human and non-human relationships. Geology, ecocriticism theory, digital representations of nature, and mechanical errors inspire my compositions. My artworks utilise anthropocentric phenomena as a method to imagine a visual culture from non-human perspectives. In the studio, I work with an array of materials and techniques such as weaving, embroidery, quilting, tufting, ceramics, welding, video, 3D modeling and animation, photography, and print-making. With different materials and techniques I feel free to explore analysing the corresponding to conditions and stories of both humans and nonhumans in a time of social and ecological unrest.«
»How has culture managed to build an ecological inequality between humans and non-human bodies? Is this reversible? Why does that mountain look so damn good?«
Scientists Benjamin Dietzek-Ivanšić and Christine Kranz from Catalight will collaborate with Andrea. In order to transform solar energy into chemical reactivity, CataLight investigates the regulated coupling of molecular light-driven catalytic units with hierarchically constructed soft matter matrices. Frank Hellwig from the German Centre for Integrative Biodiversity Research (iDiv) will also be consulted.
With its major offices in Halle, Jena, and Leipzig, iDiv is a DFG research center with more than 450 employees and members. The scientific foundation for the sustainable management of our planet's biodiversity is created here by researchers from 40 different nations.
»I am working as a media artist at the intersections of different forms of staging in the context of the moving image with new media. My artistic research focuses on the exploration of processes, mechanisms, and ethical aspects of new technologies and their effects in complex systems.«
Kathrin Hunze is a media artist and master student as well as a graduate of the Art & Media programme, at the Berlin University of the Arts, studied communication design at the Hamburg University of Applied Sciences. She is a lecturer in Fashion Design, Art & Media, at the Berlin University of the Arts. She is a board member of the Medienkunstverein Berlin and a member of the collectives nox&honig, KateHack and raumperspektive.
Scientists Zimai Li and Baptiste Piqueret from the Max Planck Institute for Chemical Ecology's Lise-Meitner Research Group on Social Behaviour will collaborate with Kathrin on this project.
The research uses a novel system, the clonal raider ant, whose peculiar biology enables us to accurately control and recreate colony composition. This system incorporates laboratory trials with live ant colonies, computational evaluations of individual and collective behavior, and molecular techniques.
Art is the most radical form of basic research. I am grateful for an european art history of autonomy and invasive progression to make sure there are no interests or disciplinary boundaries
compromising this radicality of art. As of now art is a practice of invoking radical futures. I am very aware that there are different constructions of art and freedom, which are nevertheless effective in economic and perhaps even innovative regimes of production. However I believe to make sense of the world in the 21st century and to assemble a vision for the future it is indispensable to enable radical thinking, which a western conception of art can provide. Radicality must not mean to loose touch with observable reality, on the contrary radicality must be grounded in scientific knowledge. To think out of the box, you need a box first. To forget this means to eternally postpone any revolution or only let it play out theoretically. To live up to the responsibilities of art means to cooperate with the sciences, NGOs and politics. In my recent works I worked with experts from electron microscopy, cricular economy, bioethics, policy analysis, complex systems and the life sciences to produce films, sounds, objects and narratives gathered around human responsibility and dominion of our biosphere.
Claus is supported by researchers from the Max Planck Institute for Biogeochemistry. Firstly, Melissa Ruiz-Vásquez from the Hydrology - Biosphere - Climate Interactions research group. The group aims to improve the understanding of the hydrology-biosphere-atmosphere system by combining climate modelling with the analysis of observational (based) data. Secondly, Annu Panwar of the Climate, Ecosystems and Disturbances Research Group.
The Climate-Ecosystem-Disturbance Interactions group focuses on the links between climate variability and change, disturbance regimes and ecosystem structure and functioning at regional to global scales.
Ulrich Formann (b. 1996) is a multi-disciplinary and conceptual media artist. He has graduated at the University of Applied Arts Vienna in Digital Arts. Through the means of coding, reverse-engineering and hardware-hacking he aims to explore the limits and flip sides of technology on a finite planet.
Uli will be working with Birgitta König-Ries and Roman Gerlach from FUnctionality Sharing In Open eNvironments - FUSION. The central theme of their work is the transparent, integrated use of resources in open, heterogeneous and dynamic environments. He will also consult Conrad Philipp from ELLIS Jena. At its core, the ELLIS Unit Jena's research is motivated by a desire to explore how environmental and climate science can benefit from machine learning and AI advances to gain a better understanding of Earth's dynamic systems
»I thematise human's ongoing pursuit of optimization in my artistic work. I look at how dichotomies like "better" and "worse" or "efficient" and "inefficient" affect the environment of people and, ultimately, how people are. To achieve this, I make sculptures out of materials that are mostly practical and inspired by commonplace items. In order to portray the fundamental tensions and inconsistencies of contemporary society, I establish an absurd logic by synthesising utility and dysfunctionality within these things.«
On a teaching degree, Lisa Hopf studied free art at the Bauhaus University in Weimar along with mathematics, art, and philosophy. The Jena-based artist has already taken part in the "Künstlerische Tatsachen" residency in 2022. In collaboration with the Leibniz-IPHT and the Institute for Biological Psychology and Cognitive Neuroscience at the University of Jena, she creatively questioned the impact that human perception's optimization processes have on the adaptability of human thinking and understanding.