HfK-Summer School „Beyond Repair“

On the final day of the HfK Summer School, all students were once again free to do whatever they wished. Some visited the Biennale grounds again, others explored Venice, and some took part in the workshop on the theme of “ruinous art” by Ayreen Anastas and Rene Gabri.

Arrivederci, Venezia!

Photos 1, 2 & 5 © Jonathan Tschaikowski, Photos 3, 4, 6, 7 & 8 © Bojana Petkovic

Together with Prof. Dr Martin Schulz, the students visit the Lithuanian Pavilion, this year’s winner of the “Golden Lion”, as well as the Arsenale, the former naval base of the medieval Republic of Venice. An immense flood of impressions waiting to be processed. And tomorrow, already the final day of the HfK Summer School.

Photos © Bojana Petkovic

The third group of the HfK Summer School spends its first day at the Biennale. The various national pavilions are highly inspiring. Exchange with Prof. Natascha Süder Happelmann and Dr Mona Schieren on the concepts of the pavilions visited.

Photos © Bojana Petkovic

Dr Mona Schieren and Daniela Reina hold their workshop “bodyresonanceresonantbody”; the students learn a great deal about theoretical concepts of “bodily practices”. Awareness of one’s own body can be activated and explored through dance and movement. The students pursue this experiment. In addition, selected Biennale projects are discussed in the context of the pavilions.

Photos © Bojana Petkovic

Today, group no. 3 takes part in a workshop with Ashkan Sepahvand. Out on the canals, plus an introduction to the German Pavilion (“Ankersentrum”) by Prof. Natascha Sadr Haghighian.

Photos 1, 2 & 4 © Bojana Petkovic, Photo 3 © June C

Group no. 3, “Individual/Body (Practices)”, begins its work in the final week of the Summer School. Most of the group visits the beautiful island of Le Vignole, where a reading/performance by Egan Chan and Stefan Pente is on the programme. This is followed by a talk/performance with Ashkan Sepahvand. After a wonderful meal with Venetian wine, there is also Radio Angrezi’s farewell party.

Photos © Bojana Petkovic

Today is already the last day of the Summer School for some of us. Together with Nida Ghouse, we visit the exhibition. The students who will soon be departing were able to gather plenty of inspiration. Today, once again, many theoretical conversations and lectures. Radio Angrezi broadcasts an improvised jam session.

Photos 1 & 5 © Sophie Seidlitz, Photos 2 to 4 © @isalisadieda

Some of the students visit the Biennale festival grounds again, others join the second part of the talk with Sami Khatib. Afterwards, a visit to the Nono-Archiv, where Nuria Schönberg Nono accompanies us. From 10:30 pm, Radio Angrezi broadcasts a talk segment about the Venice Biennale.

Photo 1 © Sophie Seidlitz, Photos 2 to 6 © Nils Oswald – video on “sound experiments” © Sophie Seidlitz

This Wednesday began with another workshop, this time on “primitive accumulation”, led by Sami Khatib. This was followed by another excursion: a visit to the “Ankersentrum”, together with Natascha Süder Happelmann.

Move to the island of La Vignole. Some experiment with the wild soundscapes inside the building. Preparing for Elnaz’s music this evening.

Radio Angrezi, too, manages to solve its problems with the internet and is now back on air.

Photos © Sophie Seidlitz

On this seventh day, a workshop with Avery Gordon took place, which turned into a full-day discussion on the theme of “Plantations and Prisons”. This was followed in the evening by a concert by Jessica Ekomane, Tisha Mukarji and Elnaz Seyedi (curated by Manuela Benetton) at the Venetian conservatory Musica Benedetto Marcello.

Photo 1 © Nils Oswald, Photo 2 © @isalisadieda, Photo 3 © Sophie Seidlitz

The second group has arrived. Prof. Andreas Müller and the students of the Karlsruhe University of Arts and Design are on their way back to Germany – thank you for a great time! Students of the Academy of Fine Arts Leipzig (Hochschule für Grafik und Buchkunst) will now be here at Esperienza Pepe over the coming days for a joint group titled “Accumulation”. A warm welcome!

Avery Gordon (“The Plantation and the Prison”) and Nida Ghouse (“Open Denial of the False Belief of a Disenchanted Modernity through the Testimony of Blackness as Criminality, Presented to the Miserable and Pitiful Free World in Memory of its Error”) give talks, followed by a conversation with Jean-René Bilongo, Alessandro Dessi, Marco Omizzolo and David Jassey, Aino Korvensyrjä and Rex Osa (cultureofdeportation.org). After a wonderful dinner at our quarters Esperienza Pepe, we conclude the day with a presentation by Aymen Gharbi.

Photos 1 to 4 © Stephan Thierbach, Photo 5 © Carla Warneboldt

„Mens sana in corpore sano“, familiar to many in its loose translation as “a healthy mind dwells only in a healthy body”, also applies to all our HfK students at the Summer School in Venice. Anyone taking in a lot of academic input must not forget the daily workout either.

The Summer School venue Esperienza Pepe © Carla Warneboldt

How do ruins come about, where are they found, and can only buildings be ruins? Prof. Ingo Vetter gives a lecture on this topic and encourages the students to find some photographic answers to it on the Lido and to put these up for discussion in the evening.

Others in the group spend their free Sunday on the nearby island of Le Vignole, helping to prepare a solar shower for the next Summer School group. A warm welcome to our new arrivals! :-)

Photos 1 & 5 © Stephan Thierbach, Photos 2 to 4 © Carla Warneboldt/Leonard Puhl

On this day, the programme includes a visit to the Golden Lion-winning pavilion from Lithuania: “Sun & Sea (Marina)”. A full two-hour wait to get into the pavilion! But it is worth it …

Prof. Asli Serbest and Mona Mahall discuss with the students the perspective of the ruinous in relation to the entire Biennale. Hyunjin Kim, curator of this year’s Korean Pavilion, gives an introduction to it.

Away from the actual Biennale programme, HfK students find time to watch a screening of “IUVENTA”, the documentary about the sea-rescue project. “An act of humanity”: the subtitle says it all.

Photos 1 & 2 © Carla Warneboldt, Photos 3 to 5 © Stephan Thierbach

In conversation with Angela Mengoni from the art university Università Iuav di Venezia, who offers insights into Carlo Scarpa’s intervention in a 15th-century Venetian palace. With this input, the students spend time in Venice, taking in the typical architecture and coming together in the evening for the Radio Angrezi listening session.

Photos 1 to 4 © Stephan Thierbach, Photos 5 & 6 © Carla Warneboldt

First visit to the “Ankersentrum” (German Pavilion). Introduction, listening sessions and discussion with Prof. Natascha Sadr Haghighian. Andreas Müller from the HfG Karlsruhe gives insights into the architecture of the various national pavilions.

Photos 1, 2 & 5 © Stephan Thierbach, Photos 3 & 4 © Carla Warneboldt

Introduction for the students of the four participating universities to the Esperienza Pepe venue and the surrounding area of the Biennale Urbana. The further programme is discussed; Radio Angrezi broadcasts daily until 22 June from 10:30 pm.

Students of the HfK Bremen, the Karlsruhe University of Arts and Design, the Academy of Fine Arts Leipzig and the Università Iuav di Venezia at a lecture by Prof. Natascha Sadr Haghighian © Carla Warneboldt

Photos 1 to 4 © Carla Warneboldt, Photo 5 © Stephan Thierbach

The HfK Bremen is taking the participation of its professor Natascha Sadr Haghighian, Professor of Sculpture, in the Biennale di Venezia as an occasion to hold a Summer School on site, with seminars, inputs, walks and performances. “Beyond Repair”, as the Summer School is titled, takes place from 12 to 28 June and gives three groups of students the opportunity to work on the theme of “Ruinous Spaces”.

With its teaching, the University of the Arts Bremen sees itself at the interface between an interdisciplinary and a research-based approach; it works across faculties and beyond established disciplinary boundaries. The Summer School “Beyond Repair”, organised by HfK professor Natascha Sadr Haghighian and by Ernest Ah, is an international collaboration with three other (art) universities. In this way, the Biennale is played back to Bremen and to the HfK.

The 60 HfK students and professors from the two fields of Art and Design as well as Music are joined by further groups from the Karlsruhe University of Arts and Design, the Academy of Fine Arts Leipzig and the Università Iuav di Venezia. Alongside the German Pavilion, the venue will be the Esperienza Pepe grounds on the Lido.

The starting point of the Summer School is the design of the German Pavilion in the Giardini. The installation separates one side, the inside – bare, bleak, full of boulders and with rivulets seeping from the wall of the dam – from the other side, the outside. The latter is dominated by makeshift-looking scaffolding, vegetable crates and whistle music from loudspeakers. The statement: Fortress Europe seals itself off and shuts out the foreign – and becomes a “Ruinous Space”.

At the historic site of Venice, the Summer School programme addresses transience. “The study programme ‘Beyond Repair’ has three parts, designed to examine the historical context and conceptual framework of various ruinous spaces and concepts, to understand connections and resonances between them, and to question their apparent immutability and naturalness. It is about mourning what cannot be repaired, and at the same time about observing, designing and practising strategies of survival, temporary forms of resistance and unforeseen uses of ruinous spaces.”

From the programme:

Each of the three groups receives an introduction at the “Ankersentrum” (German Pavilion) by the artist who, for the work in Venice, appears under the name Natascha Süder Happelmann.

From 12 to 18 June, one group will focus on the theme of “Architecture”. Andreas Müller of the Kooperative für Darstellungspolitik takes the students on a walk through the Giardini; there, the other national pavilions are examined and the various architectural styles and “elements as national narratives” are compared with one another. Asli Serbest (HfK Professor of Temporary Structures) and the artist Mona Mahall explore the current structural condition of the pavilions as emblems of ruins. Together with the students, Ingo Vetter (HfK Professor of Sculpture with Classical Materials) looks at abandoned buildings in the vicinity of the Esperienza Pepe and shares thoughts on the decay of entire districts and cities, such as in Detroit through the decline of the American automobile industry.

The group “Accumulation” (17 to 23 June) analyses, among other things with Sami Khatib of the Freie Universität Berlin, the underlying connection between capitalism, colonialism and imperialism according to Rosa Luxemburg and Karl Marx. Avery Gordon (Professor of Sociology at the University of California, Santa Barbara) gives a lecture followed by a workshop on the theme of “The Plantation and the Prison”. In doing so, Gordon addresses the videos by the artist Natascha Süder Happelmann released in advance by the German Pavilion, which juxtapose anonymity and individuality.

The final group, “Individual/Body (Practices)” (22 to 28 June), combines a lecture by Stefan Pente (HfK Professor of Sculpture) on “the use of white marble in sculpture and its influence on an idealised image of beauty since antiquity” with a workshop. Ashkan Sepahvand (HfK lecturer in Artistic Research) offers the group a seminar on the transience of the body, which will culminate in a “guided death ritual”. In a further seminar, Mona Schieren (HfK lecturer in the Theory and History of Art) works with the participating students on the theoretical concepts of a “body resonance” (breathing, movement) and applies these to selected projects in the Biennale pavilions.

5 June 2019

German Pavilion © Jasper Kettner

The Frankfurter Allgemeine, the Süddeutsche Zeitung and other media report on the German Pavilion and Natascha Süder Happelmann.

• SPIEGEL online „Wie ätzend will man sein?“
• Frankfurter Allgemeine „Utopien von gestern für das Europa von morgen“
• Süddeutsche Zeitung „Best-of aus Venedig“
• Frankfurter Allgemeine „Kunst darf schon etwas posten“
• Neues Deutschland „Urlaub für alle“
• Süddeutsche Zeitung „Dieser Kopf kann gar nicht trillern“
• Deutschlandfunk Kultur „Die Künstlerin mit dem Stein auf dem Kopf“
• TAZ „Die Spur des Schiffs“

Videos featuring speeches by Federal Foreign Minister Heiko Maas, by the President of the Institut für Auslandsbeziehungen Ulrich Raulff, by curator Franciska Zólyom and by Natascha Süder Happelmann’s spokesperson, Helene Duldung

The University of the Arts Bremen is part of the 58th Art Biennale in Venice not only through the artist staging the German Pavilion. Here is a personal impression of the opening last Friday, 10 May.

Speech at the opening of the German Pavilion by Federal Foreign Minister Heiko Maas, 10 May 2019, Biennale di Venezia © Roland Lambrette

Speech at the opening of the German Pavilion by Ulrich Raulff, President of the Institut für Auslandsbeziehungen (ifa), 10 May 2019, Biennale di Venezia © Roland Lambrette

Speech at the opening of the German Pavilion by Franciska Zólyom, curator of the German Pavilion, 10 May 2019, Biennale di Venezia © Roland Lambrette

Speech at the opening of the German Pavilion by Helene Duldung, spokesperson for the staging artist Natascha Süder Happelmann, 10 May 2019, Biennale di Venezia © Roland Lambrette

Photos of the opening of the German Pavilion – in the presence of Foreign Minister Heiko Maas – with the artist Natascha Süder Happelmann, curator Franciska Zólyom and spokesperson Helene Duldung, 10 May 2019 © Jasper Kettner

Numerous media reported on the opening of the Biennale and the German Pavilion with Natascha Süder Happelmann over the weekend, including:

• Kunstforum International „Biennale venedig: Deutscher Pavillon als ,Ankersentrum‘ heute in den Giardini eröffnet“
• Monopol „Entgrenzung als Programm – Deutscher Pavillon in Venedig eröffnet“
• taz „Die Spur des Schiffs“
• Weser-Kurier „Staudamm mit Musik“

Photo: Ankersentrum German Pavilion 2019 © Jasper Kettner

Before the Biennale in Venice opens to the public, journalists are allowed an early look at the exhibition. The “Deutschlandfunk Kultur” reporter Claudia Wheeler on the German Pavilion, the Biennale motto and a curator who leaves artists their freedom.

“May You Live in Interesting Times” is the motto of the Venice Art Biennale […] Continue reading here.

You can listen to the full podcast of the segment “Stein auf dem Kopf – Erste Eindrücke von der Biennale” here.

Third video by the staging artist Natascha Süder Happelmann, preview of the German Pavilion on 8 May 2019 in Venice:

In collaboration with Susanne Sachsse, Jessica Ekomane, Maurice Louca, DJ Marfox, Jako Maron, Tisha Mukarji, Elnaz Seyedi, Kooperative für Darstellungspolitik, Maziyar Pahlevan, Sina Ahmadi, Jasper Kettner and many others. Curated by Franciska Zólyom

Venice, 8 May 2019 – Some spaces are already ruins at the moment of their creation and are therefore irreparable. But can ruins also cause lasting damage – that is, be enduringly ruinous? The artist Natascha Süder Happelmann and her personal spokesperson Helene Duldung, who already appeared together at the pavilion’s first press conference in October 2018, are handing over the artistic contribution to the public on the occasion of the 58th International Art Exhibition of the Biennale di Venezia: for the duration of the Biennale, the German Pavilion is declared an ›Ankersentrum‹. In the search for the unstable forms and possibilities of survival, resistance and solidarity, ruins too are repeatedly seized, repurposed, rebuilt and inhabited. In this, the ruin itself is of less importance; its appropriation all the more urgent. The Ankersentrum consists of an expansive installation that, with its structural, sculptural and sonic elements, opens up the space of the German Pavilion for an immediate somatic experience.

Third video by the staging artist Natascha Süder Happelmann, preview of the German Pavilion on 8 May 2019 in Venice:

Six musicians and composers from different musical traditions and genres have created contributions especially for the sound installation tribute to whistle. The defining instrument is the whistle, whose piercing sound is worked into manifold rhythms and sounds. The six sound contributions, of eight channels each, are played through 48 loudspeakers arranged in a scaffolding structure. They are heard in constantly shifting constellations. Through this, and through the movement of visitors within the space, ever-changing sound spaces emerge. Simultaneously with the opening of the Ankersentrum, the third and final video by Natascha Süder Happelmann is published on the website www.deutscher-pavillon.de and on social media. Following the two previous videos, it concludes the trilogy that marked the path to the Ankersentrum. Without commentary, it bears witness to and connects places such as the anchor centres in Bavaria, tomato plantations in Apulia and a rescue ship in the customs port of Trapani.

As an integral part of the artistic contribution, the publication Ankersentrum (surviving in the ruinous ruin), designed by Maziyar Pahlevan, is published by Archive Books. It contains poems, drawings, photographs and texts by Natascha Süder Happelmann, Nida Ghouse, Franciska Zólyom, Helene Duldung, Rheim Alkadhi, Aino Korvensyrjä, David Jassey, Rex Osa, Jasper Kettner, Fritz Lazlo Weber and Felix Meyer.

The public events taking place as part of Ankersentrum (surviving in the ruinous ruin) are announced on the website www.deutscher-pavillon.de. These include concerts, the DLF radio series ›con-tribute‹ and lectures by the Summerschool ›beyondrepair‹, which is organised in collaboration with the University of the Arts Bremen, the Università Iuav di Venezia and the Biennale Urbana. The German contribution to the 58th International Art Exhibition of the Biennale di Venezia is commissioned by the Federal Foreign Office of the Federal Republic of Germany and is realised in collaboration with the ifa (Institut für Auslandsbeziehungen).

Source: German Pavilion

“Generally, no one does anything alone.” – Helene Duldung / Collaboration in the collective artistic project

Second video by the staging artist Natascha Süder Happelmann, press conference on the German Pavilion on 20 February 2019 in Leipzig:

A few months before the opening of the 58th International Art Exhibition of the Biennale di Venezia, on 20 February 2019, curator Franciska Zólyom presented an interim status of the preparations for Natascha Süder Happelmann’s artistic contribution in the German Pavilion and introduced all the artistic participants for the first time. In addition to spokesperson Helene Duldung (Susanne Sachsse) and Maziyar Pahlevan, who is responsible for the project’s graphic identity, six composers and musicians from very specific and diverse musical traditions join the team: Jessica Ekomane, Maurice Louca, Marlon Silva alias DJ Marfox, Tisha Mukarji, Jako Maron and Elnaz Seyedi.

As in many of Natascha Süder Happelmann’s previous solo and numerous collective artistic projects, collaboration also plays a major role in the current working process. The participants presented here contribute to the design of the project in the pavilion through conceptual or artistic articulations, through specialised knowledge or in transdisciplinary dialogue. Sociality, as the attempt at mutual trust and mutual support, is one of the central concerns in this.

Natascha Süder Happelmann develops the spatial concept for the pavilion together with the Kooperative für Darstellungspolitik, which researches the representation of political and cultural concerns in public and, in its practice, understands spatial design as a contribution to social debate.

The curator of the German Pavilion 2019 was a guest at the HfK. As part of the Fine Art lecture series, there was thus an opportunity to learn more about the concept of Natascha Süder Happelmann’s contribution.

• Interview in the Weserkurier

When Franciska Zólyom was invited to the Fine Art lecture series at the HfK Bremen, it was not yet known that she would be collaborating with an HfK professor for the German Pavilion of the Biennale di Venezia 2019. After this announcement on 25 October, the interest of the Bremen public and media in her lecture “Don’t Call Me Names” was all the greater.

Zólyom took the lecture as an opportunity to explain in more detail her approach and the concept for the German Pavilion project and her collaboration with Natascha Süder Happelmann. This opportunity was seized not only by numerous HfK students and teaching staff; many art-interested Bremen residents also came to the university. Karin Hollweg (Honorary Senator of the HfK, Karin and Uwe Hollweg Foundation), Janneke de Vries (Director of the Weserburg Museum), Dr Iris Reuther (Senate Building Director), Bettina Wilhelm (State Commissioner for Women), Nicole Giese-Kroner (Artistic Director of the Syker Vorwerk) and many other guests from art, culture and politics showed their interest in this lecture.

Zólyom addressed her reasons and criteria for appointing the HfK professor to stage the German Pavilion 2019 and, under the title “Don’t Call Me Names”, took the audience along the intellectual and political process of the German contribution to the coming Biennale:

“Name calling” means something like insulting. Considered further, however, the title also plays with the question of naming or labelling and the heteronomy bound up with it. The practice of positively reinterpreting and appropriating pejorative external labels is familiar from the emancipatory contexts of various so-called “minorities”. These external or even false labels have further dimensions: anyone who bears a name that sounds “foreign” or has a “foreign” spelling knows the variety of misspellings that are imposed on them. And anyone who considers today’s self-evident identification of artist and work cannot help but recognise the subversive component of Natascha Süder Happelmann’s self-determined modification of her name.

“Engaging with artistic work is significant whenever it challenges supposedly incontrovertible assumptions, whenever it allows a deepened understanding of urgent questions of the present, whenever those involved – the artists and recipients – can, out of this engagement, question their roles and create different ways of thinking and acting.” So reads the curatorial statement on the German Pavilion 2019. The reactions to the self-given name, but also Süder Happelmann’s public appearances, quickly lead to uncertainty: at the press conference on 25 October 2018, as well as in a video on the Biennale project, Süder Happelmann appears as a person with a stone head – elements that in themselves do not fit together. The artist falls silent beneath the stone and leaves the speaking to her spokesperson Helene Duldung. This appearance undoubtedly calls into question the role of the artist, her identity and her marketability. The self-naming, the anonymity and dehumanisation through the stone head, Ms Duldung as a mouthpiece and, not least, Süder Happelmann’s appearance in front of the Federal Foreign Office (see the press photo further down in the dossier) make clear the political component of this contribution as well as its topicality.

In the education of its students, the HfK Bremen places value, alongside free artistic practice, on engagement with contemporary theory, art history and philosophy. Through dialogue with committed lecturers, students can thus develop their own artistic position. Political and socially relevant approaches play a decisive role in this. The artist Natascha Süder Happelmann, who holds the professorship in Sculpture at the HfK Bremen, approaches artistic work in her teaching as well by discussing, debating and questioning various socially relevant themes – art as a research process.

The questions from the audience were not only testimony to interest, but also to the success of the approach of challenging the recipients, and to the fact that the project sets thought processes in motion even in advance.

Natascha Süder Happelmann’s next public appearance is planned for February 2019. The exact date and news about the project will be published in the HfK Bremen’s Venice dossier.

14.12.18/KN

Photo: Franciska Zólyom during the lecture “Don’t Call Me Names”, 2018, photo © Laura Baumann

Natascha Süder Happelmann designs the German contribution at the Venice Biennale 2019

+ Video online: Press conference of the German Pavilion 2019

For the design of the German contribution to the 58th International Art Exhibition of the Biennale di Venezia, Franciska Zólyom, curator of the German Pavilion 2019, is collaborating with the artist Natascha Süder Happelmann, who teaches as a professor at the University of the Arts (HfK) Bremen.

Natascha Süder Happelmann – the name is a pseudonym and part of the artistic concept – is an important voice in contemporary art. “In her works she unfolds the poetic, imaginary and critical potential of art. She stands for an artistic positioning that does not merely analyse or comment on aesthetic and academic concepts, social or political conditions, but actively changes them and redefines her understanding of her role and her mode of action for each respective working process,” reads the rationale for her selection. Since 2014, she has held the professorship in Sculpture (Thinking as Body, Shape, Form, Formation) at the HfK Bremen.

Numerous media reported, including:

• Kunstforum International
• Monopol
• Deutschlandfunk Kultur
• Süddeutsche Zeitung
• Weser-Kurier
• detektor.fm
• Der Freitag

Video of the press conference of the German Pavilion on 25 October 2018: https://vimeo.com/299785317

For the contribution in the German Pavilion 2019, Happelmann works with her personal spokesperson Helene Duldung. She has adapted her name to the particular task at the Art Biennale. For this, the artist evaluated a collection of names by which she had been addressed over the past thirty years. After careful examination of the available variants, which arose through autocorrect and misspelling on the part of public authorities, she selected the suitable name Natascha Süder Happelmann with the help of algorithmic parameters and social protocols: an optimal form of integration.

Releasing the artist-subject from representative roles or political instrumentalisation is a recurring element of her artistic practice. As early as the CV exchange platform bioswop.net, founded by the artist in 2004, concepts such as identity, representation, fact and self are put up for renegotiation and the fetish of the “artist biography” is undermined.

“I warmly congratulate her on this honourable task,” says Roland Lambrette, Rector of the HfK Bremen. “Operating with pseudonyms is part of our digital lifeworlds; it is common practice, from code names on dating platforms to aliases and avatars and digital parallel identities. With her bioswop platform, our colleague goes one step further and tests artistic strategies for evading pigeonholes and fixed definitions and for finding masks for the play with identities.”

Happelmann works primarily with installation and performance, as well as with text and sound. As an individual or collective artistic position, she repeatedly lets her practice flow into political and social processes. In doing so, she addresses the activist aspect of artistic work and re-measures the conditions and spaces for aesthetic research and artistic action.

The artist’s first video on the German Pavilion at the Biennale di Venezia 2019: https://vimeo.com/296402227

The German contribution to the 58th International Art Exhibition – La Biennale di Venezia is commissioned by the Federal Foreign Office of the Federal Republic of Germany and is realised in collaboration with the ifa (Institut für Auslandsbeziehungen).

Photo: Natascha Süder Happelmann (right) and her spokesperson Helene Duldung (left) in front of the Federal Foreign Office, 2018, photo © Jasper Kettner

Photo preview: Ankersentrum German Pavilion 2019 © Jasper Kettner

19 February 2019