germany

Iwalewahaus – Display of Modernist Movements

After departing from Germany, they settled in Australia and began archiving their visual memories, which were eventually sent to Iwalewahaus. Their professional legacy has since been digitized and shared with the Centre of Black Culture and International Understanding (CBCIU) in Osogbo, Nigeria. Their collection has been researched in the frame of collaborative research projects and individual PhD topics, questioning Ulli and Georgina Beiers legacy and its inherent dominant narratives as well as contributing to a broader understanding of Modernisms. Currently, Iwalewahaus as an institution still feeds from its initial strategies, trying to navigate between different stakeholders and ethical commitment.

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11.10.2024 | by Katharina Greven

An impression of Documenta Fifteen

Always identified with audacity, - or, as seen in the international press, marked with “controversies” and even “scandals” - the event is among the largest and most important in the art world. The fifteenth edition that was recently carried out was not exempt from a “scandal”: the unanimity of the German press in its judgment of anti-Semitism.

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02.11.2022 | by Cheong Kin Man

Contemporary Polish Photography In Germany

The exhibition, which aims to give voice to a young generation of photographers in Poland, also includes the work of Irena Kalicka, a young artist who is critical of her country’s tendency to turn to the extreme right. I had the opportunity to present a photograph of her in the magazine “Fantasia Macau” last year.

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21.10.2022 | by Cheong Kin Man

“Institutions change, in a slow and tedious way, but it happens”. Interviewing Philipp Schramm and Katharina Fink from Iwalewahaus

I think we always have the responsibility of looking into the ghosts of these colonial dreams and taking the ideas further. For example, we must rethink what are artwork features and what exactly defines them? Institutions change, in a slow and tedious way, but it happens. If we also think about the thesis and how it is configurated, how free can we be about the aesthetic part of it? Now we can offer “decolonize art studies” as a course. All the reconfigurations are a very long process to be achieved. A very important thing I would like to highlight is that where you are you must do your work and contribution. We should try to influence others with our work, inspiring them and trying to change what we know is wrong.