Dr. Cora Waschke,
born in Hamburg, lives in Berlin
Art historian, author, and curator specializing in modern and contemporary art, photography, architecture, and material iconography.
Practical experience in museums and galleries as well as in the academic, journalistic, and editorial fields.
Board member and artistic director of the Dorothea Konwiarz Foundation, Berlin (since 2020). Doctorate at the Department of Art History, University of Hamburg (2017). Research assistant (2012 – 2014) and lecturer (2015) at Bielefeld University of Applied Sciences in the Department of Design, Photography, and Media Studies. Freelance author and curator (since 2012). Worked in the archive for the research of material iconography in Hamburg (2009 – 2010). Studied art history and German language and literature with a focus on theater and media at the University of Hamburg. Language and study stay in Córdoba/Argentina, London, Florence.
Thomas Adrian Mittler,
born March 25, 2000, in Frankfurt (Main), studied horn at the Karlsruhe Musikhochschule with Will Sanders and at the Berlin University of the Arts with Christian-Friedrich Dallmann, supported by a scholarship from the German National Academic Foundation. He received further inspiration at masterclasses with Christian Lampert, Szabolcs Zempleni, and Phil Myers, among others. He also came into contact with new music at an early age, studying with Saar Berger, horn player of the Ensemble Modern, at the age of 11. Even before beginning his music studies, Thomas Mittler was a member of the Berlin and Baden-Württemberg State Youth Orchestras and the German Federal Youth Orchestra. He is currently concentrating on his solo work. At the German Music Competition 2021, he reached the semi-finals, no horn player was admitted to the finals.
In addition to his activities as a horn player, Thomas Adrian Mittler is very intensively involved with the piano; in 2017, as a Kiwanis Prize winner of the city of Mannheim, he played the 3rd Piano Concerto by Johann Sebastian Bach with the Kurpfälzisches Kammerorchester. He is also intensively involved in pedagogy and regularly coaches school orchestras in Berlin.
Lars Toepperwien,
is a young trumpet player who lives and works in Berlin. His musical career began for him in several professional big bands in southern Germany (including Tobias Becker Bigband, Jazz@Large Stuttgart, Groove Ledgend Orchestra, Wendsday Night Bigband, etc.). At the same time, he always worked on his projects and composed his music. As a trumpet player and organizational leader, he has already played several tours throughout Germany with the band “Federal Penguin Summit”. In current projects (including L ́arc, Stockholm Bookclub, a200ms and his sextet) his musical focus is on free improvised music, modern jazz, and new music.
Christopher Sergeant,
is a bassist living in Berlin? After his beginnings in the London post-rock scene in the band “Hymmel”, he formed SP Recordings, a London improv collective. This led to the formation of Sports Direct Mug, a sometimes duo, but mostly solo, harsh noise band using homemade electronics and found objects. Since moving to Berlin in 2016, he has worked as a composer for several short films funded by Channel 4, including “The Colour of Two or Three Things” and “A Mythology in Self-Defence” by Ben Tupper, and “Hunting Kiami Sublime” and “Open Empathy Gland Surgery” by London-based writer and director Joseph Chalmers. His current solo projects include “pure david: moving with gray”, where he constructs ambient landscapes using only samples from David Gray’s 1998 album “White Ladder”, and “Bob Ross from F.R.I.E.N.D.S”, where he produces ghetto house released under the Berlin label RAIDERS. His current group projects include ‘Mrs Trio’, a modern jazz trio with Lajos Meinberg (piano) and Lenny Rehm (drums), GIRLS: GIRLS, a 6-piece jazz/broken-beat band, and a200ms, a quartet consisting of bass, horn, trumpet, and modular synth, focusing on the interpretation of abstract visual references.
Isabell Schulte,
“Since 2018 I`m working on a nine part series of big scale pencil drawings.
I start every drawing at the top from left to right with a certain sequence and combination of elements. The individual characters are lined up in order systems. The strict horizontal and vertical order is broken by chaotic, randomly placed elements. Most of the elements repeat themselves to form a group. This group has a certain number and arrangement that determine the rhythm on the sheet. This is how they describe movements on paper. I read certain sequences as speed and others as slowness. In addition, there are tilting movements, gradients from dark to light, reflections, distortions, enlargements, reductions or transformations into negative. The different rhythms and movements create time levels. The horizontal structure is close to writing and notations of music They reproduce processes, show rhythms, developments, repetitions, states of the fixed and the moving that run parallel to one another. I‘m interested in this simultaneity.”
Felix Becker,
born in 1987 in Frankfurt (Main), lives in Berlin,
He studied art education, philosophy, media studies, and politics at Goethe University Frankfurt. In 2014, he completed his studies with the state examination in art education and philosophy.
From 2011 to 2014 he was a scholarship holder of the Stiftung des Deutschen Volkes.
From 2015 to 2021, he studied fine arts at the Berlin University of the Arts and the École supérieure des beaux-arts, Marseille.
He obtained his master’s degree in 2021.
At international exhibitions, he shows paintings and sculptures from his creative work.
Becker’s paintings feature geometrical divisions and purported monochrome color fields combined with rough surfaces of three-dimensional debris. As a result of his interest in process of subtraction, he works with tools of erasure and cleaning, like thinner, knifes, scrapers, scrubbers, sandpaper, tea towels and sponges. He is not interested in undoing a step, but in utilizing new methods for the stages of painting. His way of painting is the repetition of addition and removal with a preference for the aspect of intentional failure. It has become an essential part of his paintings, not only to work with a large volume of paint in terms of color, but also as a body. Therefore Becker understands the process of erasing and evolving failures as a reversal that open up space for spontaneous results. Painting for him is a process of emancipation, in which the work and the artist become related, but finally end up being independent from each other.
Yannick Riemer,
studied at the Berlin University of the Arts and graduated as a master student. After various scholarships, including Schlingensief’s Opera Village Africa and the Nelimarkka Museo in Finland, he lives and works in Berlin.
Street signs, icons, cave paintings, runes, logos, magical signs, technical drawings, random observations, houses, jewelry, flags, uniforms, structures. Everything that stands up to an initial intuitive assessment is recorded. In his series Still no Life on Planet Earth, Yannick Riemer develops his own cryptic language. Starting from a situation in which human life remains visible only in traces, Riemer creates a lexical collection of signs, repeatedly alienating and transforming them. In his paintings, he works with different techniques, which he superimposes in a kind of layering, visualizing the various narrative fragments that he combines in a collage-like manner.
Fabian Hub,
studied at the Berlin University of the Arts and graduated as a master student. After various scholarships, including Schlingensief’s Opera Village Africa and the Nelimarkka Museo in Finland, he lives and works in Berlin.
Fabian Hub’s painting maps his own perception. Through sooty, smoky layers of dense fog, solid shapes are exposed. Circle, triangle, square. Cracks, amorphous, and veils are dissected by violent gestures. Apparent certainty is always contradicted, the eye is put to the test and misconception countered with humor.
Matthias Hesselbacher,
has been working as a freelance visual artist for over 20 years.
After his studies in Mainz, Frankfurt /Main, Düsseldorf, and Berlin, he devotes himself to painting/drawing and space-related installations.
The stations of the exhibitions were Berlin, New York, Prague, Frankfurt, and Hamburg.
After an extended period in the Czech Republic from 2015-2018, he found access to the theater, through which collaboration with Czech director Jan Mocek culminated in the performance ” Shadow Meadow”, in which he found increased access to sound/stage design.
The performance was performed in Prague, Berlin, and Edinburgh at the International Theater Festival.
The resulting experiences with different forms of performance changed his work into a conceptual exploration of painting, which was first shown in 2016 in the solo exhibition “Glitches” at Bourouina Gallery in Berlin.
In 2018 he migrated to China, after stops in Shanghai and Hong Kong, as well as trips to Korea, Taiwan as well as Thailand, perceiving a fundamentally different visual language led to a further change in his work into the multiperspective of abstractness.
Since 2021 his center of life is again Berlin.
Phonoschrank