Programme 2018

FROM 31.8. TO 29.9.2018:


11am – 5pm Open participatory performance workshop for Museo Aero Solar /
MKH Office, Breiter Weg 19

11:30am Guided tour of the exhibition / Start: Main Train Station


11 – 12:30am  Workshop/tour with Jette Held / MKH Office, Breiter Weg 19



Phone: 0152. 247 897 20


FRIDAY 31.8.

4pm  Town hall vault, Holzmarkt 7  

afterwards Performance workshop at MKH Office, Breiter Weg 19

afterwards Curator´s tour of all exhibition venues

8pm  Opening ceremony in the former central federal state bank, Westendorf 26

9pm  Performance by Eca Eps in the former central federal state bank, Westendorf 26



3pm  Reading event by Transformation Design / Main train station, Bahnhofstraße 13



5:30pm  Talk by Sogol Mabadi / former central federal state bank, Westendorf 26

7:30pm  Biennale special concert / Theater, großes Haus Halberstadt / Special concert



1 – 5pm  Live performance by Sogol Mabadi / behind the Cathedral Organ,
Cathedral St. Sixtus + St. Stephanus, Domplatz



4pm  Reading event by Transformation Design / Main train station, Bahnhofstraße 13

5:30pm  Talk/Panel discussion with artists Sara Lehn, Sven Wiesner and Transformation Design /
former central federal state bank, Westendorf 26


FRIDAY 21.9.

8pm Reading (with music) by Knud Balandis for the Transformation Design project /
Main train station, Bahnhofstraße 13

This event is cancelled! We ask for your understanding.



11am  Great graduation performance of Museo Aero Solar / 
Hanover of the resulting artwork to the city of Halberstadt / MKH Office, Breiter Weg 19

4pm  Reading event with Transformation Design / Main train station, Bahnhofstraße 13

5pm  Public guided tour with Curator Pippa Koszerek / Start: Main train station, Bahnhofstraße 13

7pm  Finissage Party with exhibition artist / former central federal state bank, Westendorf 26



Thur + Fri  2pm: guided tour by prior arrangement
Sat + So  11am - 5pm



Mo + Tue closed
Wed  11am - 3pm
Thur - So  11am - 5pm



Opening hours & guided tours


Phone: 0152. 247 897 20



Thur + Fri  2pm: guided tour by prior arrangement
Sat + So  11am – 5pm



Breiter Weg 19

Mo + Tue closed
Wed 11am – 3pm
Thur – So  11am – 5pm



Curator | Concept


Pippa Koszerek is an artist, writer and curator based in London. Pippa has been involved with artist-led activity since 1999 when, as a student, she founded the Independent Art School in Hull. In 2008 she initiated POST, a uk-wide network for artists and curators involved in site and context responsive practices. Past curatorial projects include Construction Gallery, London, Island Projects at the Dickens Museum, London and PRESS ROOM, a special project at the Creative Time Summit, Venice Biennale 2015. She regularly writes for a-n News.



More Information:



Curatorial Statement

Klimawechsel - Climates of Change

In recent years we have witnessed international climate agreements promising change at a snail's pace, fake news increasingly distracting public opinion away from scientific consensus and reparations to those impacted by climate change still only a concept rather than a fair redistribution of resources. It is perhaps no surprise, therefore, that many artists have been moved to seek out responses and solutions to some of the problems they see in the world through their art.

Of course this approach is not entirely new. Beyond the experiments of Renaissance polymath Leonardo da Vinci, the diplomatic efforts of Peter Paul Rubens in 17th Century or the political and social endeavours of Joseph Beuys in the latter half of the 20th Century, there have always been artists who have doubled as scientists, state agents or social activists. Today, the unhindered progression of climate change brings a different set of motivations – and an increasing body of artists who use their art to understand or impact the systems that govern us.

Reparation and disrepair is the binary theme that bring together two contrasting approaches as shared concerns within the artworks in this exhibition. Some artists take the structures and systems of society and nature and rework them, microcosmically reflecting the inequality and turbulence of our current times, some artists speak of stasis and disarray brought about by bureaucratic or financial systems. They play witness to the shifts of behaviour and thought within their societies, at times evidencing these changes, at other times acting as forecasters of what may be to come. – presenting our world in a state of disrepair.

Others use their art to repair, borrowing techniques from science, technology or ecology to rethink the way we live and coexist. For these artists, representation and irony are not enough, they seek to understand and co-opt the forces around them in order to construct works that provide solutions for our collective future – they become inventors, citizen scientists and hacktivist engineers.

Climates of change brings together artists who look at changing systems – social, financial and architectural – and artists whose work seeks to directly create and disrupt change through the invention of alternative mechanisms.

For its third edition, MKH Biennale will look through the eyes and experiments of artists at the changing social, political, cultural, environmental and historical climates that we are living through to ask, How do artists comprehend, influence and make change in the world? and What can we as a community do now?.

This is an exhibition that conjures up a sense of dread and unbounded hope in equal measures. 





Photo: Film still, Tiere im Bombenkrieg


Film projection / Video installation

Celebrated filmmaker and author Alexander Kluge (b.1932, Halberstadt)'s first feature film Abscheid Von Gestern won the Silver Lion at the Venice Film Festival in 1966, the first German entry since 1945 to garner the prize. It features Kluge's late sister Alexandra Kluge starring as Anita G, a young East German girl of Jewish origin who crosses the Berlin wall to live in West Germany. The film – a satire – explores the historical concerns and scarred memories that remain on either side of the wall. It will be screened on a loop at Hochschule Harz for the duration of the biennale.

Kluge has also created a new installation for the Town Hall's vault, where some bombed remains of Halberstadt's original town hall building are stored. Titled Specially made for the small miracle-cave below Halberstadt’s town hall: Triptych 2018, Kluge presents a programme of short films that contrast news and archive footage from film and current affairs with footage of animals, both in the wild and trapped in a bombing campaign.

Known, as one of twenty-six signatories to the Oberhausen Manifesto of 1962, for his pioneering approach to New German Cinema, Kluge has also written extensively about the destruction of Halberstadt in WWII.

Important exhibitions include: dctp - Alexander Kluge. The Interview as Artistic Form (ZKM, Karlsruhe, 2008), “The Boat is Leaking. The Captain Lied.” (Fondazione Prada, Venice, 2017) and The poetic power of Theory (Belvedere Haus 21, Vienna, 2018).


Photo: Aram Bartholl, Forgot Your Password


Video projection / Book series

In the vault of the former Central Federal State Bank two pieces by Aram Bartholl (b. 1972, Bremen) consider online privacy and our vulnerability to a new kind of heist.

TOP25 (2018, 5:44 min, video, full HD) is a series of short 3D animation sequences featuring the 25 most used passwords in the world. Standard, easy-to-guess passwords like ‘123456’ or ‘admin’ – frequently the default preset passwords for routers and other devices in the past – still pose a significant security threat to computer systems in general. This collection of well-known passwords is presented in a style of 3D animation often used for YouTube intros. All sequences in this video are original designs and arrangements by different creators; the text has been altered to match the top 25 passwords.

Forgot Your Password? (2013, book series) is a reminder of how easily our data circulates online. In summer 2012 the social network got hacked and lost its whole user database. A few months later parts of the decrypted password list surfaced on the Internet. These eight volumes contain 4.7 million LinkedIn clear text user passwords printed in alphabetical order. Visitors are invited to look up their own password.

Bartholl has exhibited at MoMA Museum of Modern Art NY, Skulptur Projekte Münster, Palais de Toyko Paris, Hamburger Bahnhof Berlin, Media City Biennale Seoul and Thailand Biennale as well as conducting countless workshops, talks and performances inter­nationally. Bartholl lives and works in Berlin.



Participatory performance

Museo Aero Solar (2007 – present) is a flying museum, a solar balloon completely made up of reused plastic bags, with new sections being added each time it travels the world, thus changing techniques and shapes, and growing in size every time it sets sail in the air. The core of the Museo resides in the inventiveness of local inhabitants, not in its image: among collective action and art, do-it-together technology and experiments.

Museo Aero Solar has initiated workshops and social gatherings in more than 28 locations worldwide. It is an open-source international community, initiated more than 8 years ago by Tomás Saraceno in conversation with Alberto Pesavento, inviting everybody to take part and to turn used plastic bags into lighter-than-air sculptures. What began from the premise of a collection has unfolded to be an urgently necessary investigation on coexistence, aeronautics, and architecture, aimed to rethink the way we navigate new territories and venture beyond the rules of gravity. In a fascinating use of the platform of the museum, Museo Aero Solar shows how a collective project can emerge from individual acts, and potentially retake a polluting product and transform it into a mind- expanding material. The resulting collection – which includes more than 20,000 plastic bags culled from countries including Colombia, Cuba, France, Germany, Italy, Palestine, Switzerland, the United Arab Emirates, and the United States, among others – brings forward an insistence to grasp the sun.


Photo: Georgia Brown, In Fifty Years from Now, Under the Rising Seas, 28th December 2017, Public right of way along the River Rother, East Sussex. 


Text / Photography

A public notice on a bank of the River Rother led Georgia Brown (b. 1994, England) to embark on a durational project. The forecast: 'In fifty years, this area will almost certainly be under water as a result of climate change'. In a new work Fifty Years From Now, Under the Rising Seas (2018) for MKH Biennale, the process of making a boat, to sail from river to sea, is communicated through subjective third person narrative and photographic series. The site of this practice is the landscape surrounding the river, formed by the global entity of climate change. Brown will make this journey again and again during her lifetime in a lived continuum. Through her research, she encounters organic systems that expand her understanding of time. Her dependence on the abundance of goods and services is revealed as well as the assumption of existing in a globalised, market-based society. The contradictions of making the boat with a minimal environmental impact are broken down and examined. In a multiplicity of forms, she sets out to question the inevitability of global warming through meaningful action on the anthropogenic causes.

Georgia Brown, lives in London where she works as a teaching assistant. At University of the Arts London, she successfully campaigned with artist David Cross for institutional divestment from the fossil fuel industry.


Photo: J. Cibic, Framing the Space, 2012, single channel HD video, production stills, courtesy of the artist


Video projection

Jasmina Cibic (b. Ljubljana 1979) is a London based artist who works in performance, installation and film, employing a range of activity, media and theatrical tactics to redefine or reconsider a specific ideological formation and its framing devices such as art and architecture. Her work draws a parallel between the construction of national culture and its use value for political aims, encouraging the viewer to consider the timelessness of psychological and soft power mechanisms that authoritarian structures utilise in their own reinsertion and reinvention.

For MKH Biennale Cibic presents two films, originally presented as part of her project “For Our Economy and Culture” for the Slovenian Pavilion at the 55th Venice Biennale. Fruits of Our Land (2013, 11 min 43 sec, single channel HD video) presents a recreation of a 1957 parliamentary debate between Yugoslav politicians, architects and art historians, set up to decide which artworks might be suitable (i.e. nationally representative enough) to ‘decorate’ the newly built People’s Assembly.

Framing the Space (2012, 10 min 45 sec, single channel HD video) was shot at Vila Bled, the summer residence to Yugoslavia’s president Tito, who entrusted its post second world war re-design to his official state architect. In the film the character of a western journalist Linda interrogates the architect while wondering through the building. The film presents philosophical and architectural theories of purpose, form, function and aesthetic. The script for the film was based on documents from the 1950s from the architect’s personal archives.


Photo: Rebecca Chesney, Future Mask (Future Kit), 2017. Photo credit: Gavin Renshaw



In 2016 and 2017 Rebecca Chesney (b. 1968, Lancaster) undertook residencies at Montalvo in California where she met with scientists at NASA, Stanford University and UC Berkeley while looking at issues surrounding extreme weather. During the first visit, California was suffering from severe drought, however on her return the state had suffered extreme levels of rain fall, floods and landslides.

The Future Kit comprises objects useful to an individual for a changing climate. The Flood Stick is a 2m folding ruler painted with specially made paints (derived from the colour of Usk River flood water). This handy folding ruler is suitable for those living alongside rivers, on floodplains or near the coast. The Future Mask Offers 100% UVA and UVB eye protection; protection against fine dust particles, water and oil based mists; and is made from lightweight cotton fabric with full head and skin coverage to shield against sunburn.

Chesney's practice examines our complex relationship with the natural world, by engaging with issues of culture, politics and power. Her artworks, which take the form of installations, films, interventions, drawings, maps and walks, are often created in response to specific places, and are underpinned by environmental research. Recent projects include Alla Breve (2018) at Museo Casa Rurale di Carcente in Italy, a Lucas Artist Fellowship (2016/ 17) at Montalvo in California USA and Snapshot (2016) residency and commission by Peak with Brecon Beacons National Park Authority.


Photo: Don't Follow the Wind, Installing the exhibition on site in the Fukushima exclusion zone. Courtesy of Don’t Follow the Wind.



The curatorial collective Don’t Follow the Wind – Chim↑Pom (initiator), Kenji Kubota, Eva and Franco Mattes, Jason Waite – developed together a long-term project inside the Fukushima exclusion zone and its ongoing off site correspondences.
On 11 March 2015, an inaccessible exhibition situated inside the radioactive, evacuated zone entitled Don’t Follow the Wind opened on the fourth anniversary of the earthquake and tsunami that triggered the ongoing crisis at the Fukushima Dai-ichi Nuclear Power Plant owned by TEPCO. Hosted in homes and buildings lent by former residents the sites include – a warehouse, farm, and a recreation center. The curators collaborated with twelve participating artists including Ai Weiwei, Chim↑Pom, Grand Guignol Mirai, Nikolaus Hirsh and Jorge Otero-Pailos, Meiro Koizumi, Eva and Franco Mattes, Aiko Miyanaga, Ahmet Ögüt, Trevor Paglen, Taryn Simon, Nobuaki Takekawa and Kota Takeuchi. The exhibition is open and yet remains unseen in the inaccessible zone, continuing to be invisible for years or even decades, until the former residents can return.

Material Witness (2016–) is comprised of everyday objects found at the exhibition sites by Don't Follow the Wind that have born witness to the processes of contamination and entropy which characterized the zone. These marked objects travel outside of the zone along with the photographic evidence of their origin and present separation from their locations acting as living symbols of the ongoing catastrophe.



Installation / Video projection

Eca Eps (b. 1986, Nigeria) is a London-based Nigerian artist whose practice is concerned with material notions of space and place in relation to rights and freedoms, investigating these themes loosely through performance and the materiality of tapestry installations.

She received her M.A. in Art and Politics from Goldsmiths in 2017, and has located her practice around gender in conflict contexts looking at the complexities of women's lives in North Africa and the Middle East.

Her UK solo exhibition From Chibok to Calais explored the resilience of human activity across the Mediterranean and the resistance that ensued defiantly in Europe.

Her work at the MKH Biennale My Earth, Your Sea, Our Skies of the same troupe interweaves performance and installation to examine the simultaneous impact of extremism and environmental degradation. The works on display show water in its changing states and examines its extreme capabilities as both a lifeline, a barrier, and weapon.


Photo: Isabella Kellermeier, A work by the Transformation Design collective



Referencing theorist Bruno Latour's writings on the ecological crisis, the Transformation Design collective deal with the metaphor of a society which destroys its future in its flight from its own past – running backwards, as it were. Only recently have we turned to the future to realize with horror what destruction we have done behind our backs – and keep on creating. Are we no longer left with a future? Where are we heading to? Apocalypse? Again? And if we accept that an Apocalypse is approaching: why are we not petrified? We’re standing on shaky ground that crumbles our world view and forces us to find new ways of acting.

Created for MKH Biennale the immersive art installation and reading room Apocalypse A_AP (As _____ As Possible) brings together fiction and theory to provides access to overlapping discourses within design, art, and the humanities. The installation embraces dialogue and reflection with the aim of finding new trains of thought. The visitor is invited to lose their hold on everyday reality, exploring the uncertain chaotic cosmos that we have been building up without reaslising it – landscapes bristle with cracks and holes that might branch into a possible path for action.

The collective of artist-designers Marius Förster (b. 1987), Kristina Fromm (b. 1989) and Jacqueline Hen (b. 1989) investigate possibilities for social transformation through communication and participation at the intersection of physical and virtual habitats.


Photo: Anette Fortuna, 2017


Radio-receiving music box

“May I introduce you to Anette Fortuna: she is an activist, materialising online-radio, mixing channels and bringing web broadcasters together in one receiver. You are standing in front of a 1,50 m-high sculpture, a golden baseball-bat-holding ballerina, on top of a GDR light-globe, bedded on an open Sacher-cake box, mountad on a plexiglass socket with tv speakers that replay a collection of archived radio-shows. As soon as a live-stream connects, Anette starts rotating and the world goes ON AIR. The music box dedicates a monument to an invisible world-wide public broadcast. Via the internet anyone can tune into Anette Fortuna’s programme anytime anywhere … but now she is calling on the listeners to funk back.”

With Anette Fortuna, an online-radio receiving jukebox, Sara Lehn (b. 1983) sets the vision of a world wide public broadcast as a monument. For Halberstadt it is tuned to re-play selected radio sessions on social, city and cultural politics produced by the artist since 2012. Streamers around the world are invited to interrupt the programme with their shows, live and direct into the Biennale and make Anette Fortuna dance for the audience.

Sara Lehn tries to live in Berlin, and to work with text, video, sound and any material matching the situation. Running project space WestGermany 2005–16, Public Campaign for an Alternative Broadcast beyond the stations 2013–15, multimedial installations involving people, artists and neighbourhoods, radio-active undertakings since 2012 – ongoing.




The Limitations of Logic and Absence of Absolute Certainty is an experiment. The piece sets up the conditions necessary to create a tornado. Utilising only what it necessary, moving air turns water vapour into a fierce vortex. In its simplicity and immediacy the piece aims to give direct contact with the awe, fear and beauty of the Romantic sublime. The work consists of materials that reflect pure function, nothing is hidden from view. In this way the work is not only about the beauty of the tornado, but also the beauty of knowledge – the euphoric moment of discovery and understanding.

Alistair McClymont graduated from the Royal College of Art sculpture MA in 2005. His work is a continuing process of discovery and experimentation, ranging across a variety of materials and practices. Recent work is underlined by a search for what it is to be human. This might be our position in time and space on a grand scale, or singular observations on subjects that fascinate him. Each piece takes a small subject area and breaks it down into something understandable and perhaps beautiful. At times artworks take the form of direct demonstration, or experimentation. At other times the artworks are formed by phenomena: the sculpture, or image is created by a process that is out of his control and the final work points to that process. Underlying all the work is a deep concern for beauty and reason.


Photo: Mobilised no 1: with Pipe/ Sogol Mabadi, 2016. Photo: Alan McAteer 



For the performance I cherish this chance to get to know you and, through you, myself (2018), visitors to St. Sixtus & St. Stephanus Cathedral are invited to take part in an encounter.
For this closed event, artist Sogol Mabadi will wash her hands and ask you to do the same. Subsequently, she will moisturise your hands. There are four places available for every performance slot. Each encounter will last approximately 25 min. Goethe´s collection of poems titled “The West-Eastern Diwan”, has contributed to the thinking that has gone into developing this work.

Sogol Mabadi (b. Tehran) grew up in Gothenburg, Sweden and moved to London in 2005. She has a Foundation Diploma from Kensington & Chelsea College and a BA (Hons) from The Glasgow School of Art, graduating in 2010. She is an artist and qualified art therapist based in Glasgow.

Performances/exhibitions include: ‘Home Where Home Is Not’, Glasgow Women's Library and Platform, Glasgow (2019); ’Encounter no.1’, Centre of Contemporary Art- Intermedia Gallery, Glasgow (2018); ’Hosts and Visitors', Reid Gallery, Glasgow School of Art (2016); 'Home Diversions', Transmission Gallery, Glasgow (2014); 'Spelling Space', Pipe Factory, Glasgow (2014); 'Dear Green', ZK/U, Berlin (2014); ’24 Spaces- A Cacophony’, Malmö Konsthall, Sweden (2013); Endeavour no. 07', Royal Scottish Academy, Edinburgh (2013); 'Endeavour no. 06', Solo show, Studio 41, Glasgow (2013); 'Ok-yuh-pahy' Glasgow International Extended Programme-Pipe Factory, Glasgow (2012).


Photo: DeflatedCapital_DNiG_MART33.jpg = Deflated Capital VI, 2017, plaster & pigment, 105 x 36 x 60 cm & 
Deflated Capital VII, 2017, plaster & pigment, 105 x 20 x 20 cm 



For her Deflated Capital series of sculptures, Doireann Ni Ghrioghair (b. 1983) took latex casts of classical columns from Dublin Castle. After the plaster is cast in an unsupported latex mould, the pillars, normally solid and erect, became flaccid and deflated. While faded Georgian grandeur is particular to the history of Dublin, recent international political developments have also reminded us of the inevitable sunderance of empires. Aesthetics of permanence last longer than the power they aspire to represent.

Ni Ghrioghair’s work aims to probe at the psychological and physical consequences of this architecture for the individual in the city. Classical orders proliferate cities, imbuing buildings such as law courts, banks, government buildings and academic institutions with esteem and grandeur. Despite being built since the 18th century, this ubiquitous style aims to cite antiquity, evincing a sense of timelessness and purity. Ni Ghrioghair recognises them as architectural societal 'introjects' and unreliable translations of ancient Greek and Roman architecture. A set of arbitrary aesthetics, removed from their original meaning, around which we twine the fictions of our contemporary life.

Doireann Ní Ghrioghair has recently completed a long-term residency at Fire Station Artist Studios in Dublin from 2014-17, where she was also awarded a Sculpture Workshop Residency. Recent exhibitions include MART Gallery, Dublin (2017); Platform Arts, Belfast (2017); Eight Gallery, Dublin (2016).




Sven Wiesner (b. 1979, Staßfurt)'s sculpture and installations deal with the creation and transfer of materials to material masses.

In Earth Box, developed for the stark environ of the former Central Federal State Bank, decrepit earth has been poured as a pile in a three-sided black wooden shed. It is brutal and reassuring in its simplicity. In the sloping earth, a narrow path emerges that leads steeply upwards. Here a video body is stuck in the ground as if it has just been dug up. The flickering of the picture tube and the grating sounds of the film Abtrax draw attention to the eerie box. The film shows the physical exertion of removing earth from a mountain with a shovel. The earth continues to give way over time and moves down the slope in a sliding and rolling motion. In addition to the video film, the earth appears as a mere material in the sculpture, in large amounts piled up and solidified in the three-sided wooden wall of formwork panels. Earth Box is a situational work, the temporary formation of which also recalls and communicates the transience of human existence.

Inspired by the tradition of Land Art, Sven Wiesner has developed his own 'Work Objects'. These objects are seemingly archaic instruments that he has developed as artificial objects in the form of nails, shovels and basins (pools). His work visually conveys the abstract concepts of force and energy, their transmission, storage, transformation and preservation.

Exhibition venues



Transformation Design // DE
Marius Förster, Kristina Fromm, Jacqueline Hen

zu Google Maps



Alexander Kluge // DE

Sara Lehn // DE


zu Google Maps



Georgia Brown // UK

Jasmina Cibic // SI / UK

Alexander Kluge // DE

Doireann Ni Ghrioghair // IE

zu Google Maps



Aram Bartholl // DE 

Rebecca Chesney // UK

Eca Eps // UK / NG

Don't Follow the Wind // JP / US / IT

Alistair McClymont // UK

Sven Wiesner // DE

Zu Google Maps



Aerocene Foundation (Museo Aero Solar) // DE


Zu Google Maps



Sogol Mabadi // IR / SE


Zu Google Maps
Press & TV


Link to 3SAT / Kulturzeit from 10.9.2018 / article at 22 min


Video docomentation


Press / online,1032/mkh_ht_250818.pdf


Coop Partners

Stadt Halberstadt

Hochschule Harz


Moses Mendelssohn Akademie


Das Gleimhaus




Nordharzer Städtebund Theater


Kunstverein Braunschweig e.V.




Dom und Domschatz Halberstadt


Förderkreis Musik am Dom e.V.


AWZ - Aus- und Weiterbildungszentrum GmbH Halberstadt




Kulturmanufaktur Halberstadt e.V.



Kunststiftung Sachsen-Anhalt

Lotto Sachsen-Anhalt

Stiftung Harzsparkasse

Landkreis Harz

Figaro GmbH


Gebäudereinigung Scheibler

Diakonie Werkstätten Halberstadt gGmbH

Rathauspassagen Halberstadt

Gerüstbau STAMO


Kuratorium Stadtkultur Halberstadt


And privat donors!




Monat_Kunst_Halberstadt e. V.
is a not-for-profit organisation dedicated to the following purposes:

  1. Monat_Kunst_Halberstadt e.V. plans and stages the MKH Biennale, an international exhibition of contemporary art in Halberstadt, Germany.
  2. The MKH Biennial is conceived as an on-going curated project with changing thematic priorities.
  3. The association will decide on curator applications with a majority vote.
  4. The MKH Biennial offers a platform for contemporary art. We want to raise the region’s profile in the international art world.
  5. We deliberately include non-traditional exhibition spaces in order to develop the whole city as a cultural space and to resuscitate unused sites.
  6. The Biennale operates in the national and international context of art with no restrictions other than those resulting from the Biennale’s theme.
  7. The Biennale features artistic works from all media of contemporary art, e. g. performance, dance, painting, drawing, sculpture, graphics, video, theatre, music, and photography. We want to encourage public dialogue through events such as exhibitions, meetings, conventions, workshops, and study courses.
  8. We understand the Biennale as an art event that may be taking place far from big cities, but nevertheless enables people to participate in a present without borders. The focus does not lie on the Halberstadt region or the cultural area Harz, but rather on the interrelation of global processes and regional developments.


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Monat_Kunst_Halberstadt e.V.

Reference: M_K_H_2018

IBAN: DE91 8105 2000 0901 0288 27

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Become a support member and help us to develop our association and our idea of a Biennial in Halberstadt.

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