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Exhibition from March 13, 2022 until June 6, 2022
Soft Opening on March 13, 2022 from 2:00 to 9:00 p.m.
Exhibition with works by: Costantino Ciervo, Lioba von den Driesch, Stefan Fahrnländer, Helga Franz, Susanne Hegmann, Andreas Greiner, Christina Paetsch, Gert Pötzschig, Christine Schulz, Thomas Wrede.
Climate change, the disappearance of animal and plant species, the loss of habitats and resources are central topics of our present. Complex scientific studies on the causes and consequences of these developments explore possible fields of action to slow down these processes. Initiatives and action programmes are growing into global networks with the aim of creating a future worth living for all. The exhibition "Habitats" now contrasts the analytical view of science and the political actions and programmes with ten artistic positions; the original concept of habitat is expanded in the context of individual artistic work. In installations, video works, photographs, objects and drawings, artists locate political and economic entanglements in the complex relationship between humans and nature with themes such as loss, threat and displacement but also preservation, protection and beauty of fragile habitats, partly fragmentary, partly with pronounced intention. A large number of the works shown were newly developed for the exhibition at Schloss Biesdorf.
Lioba von den Driesch shows the video work "ene mene mu" in the exhibition – animations that stage the disappearance of species with regard to personal childhood memories. Creatures drawn with water on a slate disappear irretrievably as the stone heats up. (ground floor)
Andreas Greiner works with time-based sculptures involving dynamic and uncontrollable variables. His practice includes exploring possible extensions of classical parameters in sculpture. In terms of content, he focuses on the influence of anthropogenic interventions in the form and evolution of "nature". In the video work shown at Schloss Biesdorf, a digital forest is recreated with the help of a deep-learning algorithm fed with thousands of image recordings of forests. Artificial intelligence expands the human gaze and, through its specific aesthetics, enables a new reflection on the relationship between humans, nature and technology, now and in the future. (ground floor)
Stefan Fahrnländer, following the tradition of the European panel painting, works with very contemporary techniques that are committed to a discourse in which the category of the "painterly" is no longer tied back to the traditional modes of painting. Fragments of memories of the first machine age, drawn with the manifold possibilities of today's digital age, allow us to immerse ourselves in "Heimsuchung" and position marks of the shoreless in sensually perceptible forms in which the idea of the principle of home and other important current questions appear. (ground and first floor)
Christina Paetsch deals with processes of perception in the field of tension between disgust and beauty, nature and artificiality. Her works work with the principle of collage in the fields of photography, video and installation. The current works at Schloss Biesdorf deal with captivities in fictitious habitats. An installation of large-format photographs paired with a shower curtain behind which a Gugelhupf is on its last legs. Rabbits in cages, as well as desperate marshmallows behind bars. (ground and first floor)
Since 2018, photographer Thomas Wrede has been working on various series of works about the melting of Alpine glaciers. Here he is particularly interested in the glaciers covered with fleece. The large-format photographs in the octagon of Schloss Biesdorf were taken at the Rhone glacier in Switzerland with its glacier cave (2,300 m above sea level) and show exciting detailed views of the interior and exterior of the glacier. (first floor)
In her new works, Helga Franz applies the concept of habitat to economically initiated entanglements and at the same time mental localisations. Her objects and installations question the finiteness of natural resources. The artist is showing three works connected by installations. Weighing more than 100 kilos, the massive cylinders of beeswax, reminiscent of a geological drill core, rest horizontally on curved bulletproof glass in the work "Cera flava trichromatic". The kinetic installations "Honigtaucher bigelb" and "Leguminosenschreiber schwarz" work with the food sources lentils and honey, which have been used by mankind for thousands of years. (first floor)
Costantino Ciervo shows the wall piece "Mare Nostrum" and the multi-part installation with old sewing machines "Sew in the Sea". Both works deal with the death of refugees in the Mediterranean. In animated videos, a poetic text by Marco Mantello and researched data from shipwrecks are "stitched" into the surface of the sea in signal red paint. (first floor)
Susanne Hegmann is searching for traces in the habitat of her own life: in addition to enriching images and objects with personal history, she also presents in her space an associative examination of nature, art and artificiality, nature and its image – both the direct, photographic, supposedly objective one in the form of a wall-filling photo canvas, and the subjective one derived from it in the form of a drawing. Since the traces are all inscribed in surfaces, the whole room is also an experimental arrangement on the pictorial character of surfaces (and its genesis) – with a casually thrown thought-sketch on the taming of art and nature in this gallery. (first floor)
In her site-specific installations made of different materials such as metal, Plexiglas and light boxes, Christine Schulz takes up current questions about our culture. In addition to the expansive constructions, she uses self-filmed recordings and found images from the internet and feature films. Her current installation focuses on images and films of primates. (first floor)
The exhibition also includes a painting by Gert Pötzschig (on loan from the Museum Utopie und Alltag, Alltagskultur und Kunst aus der DDR, Beeskow/Eisenhüttenstadt). Gert Pötzschig's paintings are characterised by landscape and city views. The oil painting "Tagebaulandschaft 1" was painted in 1986 in the former GDR and shows the torn-up earth of an open-cast mine in a blurred, almost romantic light. (first floor)
The exhibition is supported by the exhibition fund Kommunale Galerien and the fund for exhibition remuneration of the Senate Department for Culture and Europe.
An event of the Department of Culture Marzahn-Hellersdorf.
More information on culture in Marzahn-Hellersdorf can be found on the internet at
Exhibition in the basement
On the ground floor, Schloss Biesdorf is showing screen prints by the artist GUSTAVO. These are limited and numbered prints that he is currently making from various of his paintings.
Like his large-format paintings, these are enlivened with the characteristic, colourful and bizarre figures that GUSTAVO captures on paper in absurd and comical situations. The poetic-absurd titles of the individual works are a humorous and lively bridge into GUSTAVO's magical pictorial worlds.