Susanne Grube is an art historian, M.A. and director of the Künstlerforum Bonn.
She studied in Hamburg and Bonn. Her activities included a two-year assistantship at the ifa Gallery in Bonn. Today she also works as a freelancer in the creative department of the Kunstmuseum Bonn. She lives in Troisdorf.
Like many independent art historians, she works in various fields and in very different constellations. At the Künstlerforum, she is responsible for the programming of the exhibition house. As a curator, she focuses on interdisciplinary projects, cultural dialogue and education, which can often be realised through exchange and cooperation. Networks are created through thematic exhibitions, and relevant questions arise from them. “Redraw Tragedy” not only continues the preoccupation with the relationship between art, nature, culture and the environment, but also follows on from “House of Mistakes”, an exhibition on mistakes, failure and catastrophes. The exhibition on mistakes and their catastrophic relationships almost four years ago was often commented on by visitors as a stimulating counter-position to the apparent perfection of our meritocracy.
Bruno Hadjih is an artist and shows his cinematic work and photographs in the Redraw Tragedy exhibition.
Born in Kabylia, Algeria, Bruno Hadjih lives and works between Paris, Gers and the Sahara. He is represented by the gallery Mamia Brétesché and Régina Maria Anzenberger.
After studying sociology, he turned to documentary and plastic photography. His work focuses in particular on the redefinition of spaces, referred to as immaterial, mental and geographical space. As a reflection or a new look at the Mediterranean world, its history, its culture and its relations with the rest of the world, Bruno Hadjih’s work is a questioning, a statement, and a commitment.
Luana Juliano is an art historian-to-be.
In 2020, she received a Bachelor of Arts in Art History and Literary Studies from the University of Bonn and will complete a Master’s degree in Art History, supplemented by Museum Studies, in 2022. She lives and works in Cologne.
Her special interest is art education. Writing about artists and their work, curating exhibitions or collaborating on larger and smaller projects in general art and cultural life is a passion she will make her profession. Her motto: art is life and life is art.
Gaby Kutz is an artist, in the Redraw Tragedy exhibition she is represented with painture.
Gaby Kutz studied at the Cologne Werkschule and the Düsseldorf Art Academy. She lives and works in Bad Münstereifel.
In her work, she repeatedly takes up political themes, using painting and watercolour to draw attention to the strengths and assets of society and community. Her works deal with outstanding personalities and pressing issues such as the climate crisis and refugee disasters. Living in Bad Münstereifel for many years, her studio is now itself affected by a catastrophe, the great flood disaster of 2021 has been damaging her rooms and a considerable part of her works.
Hiroyuki Kobayashi is an artist and, together with Natalia Wehler, the initiator of the exhibition project. He is showing his installation works in the exhibition Redraw Tragedy.
Born in 1987 in Okayama (Japan), Hiroyuki Kobayashi graduated with a Master’s degree in sculpture from the Okinawa Prefectural University of Arts in 2012. In addition to his artistic activities, he currently runs the NEPA gallery and works as a curator and art director. He lives in Okayama, Japan.
Kobayashi works in his sculptures and installations on the relationship between people and places and things. His artistic interest is in the interplay between historical facts and individually experienced truth, using stones as symbols for places and their events. He reproduces the stones in a casting process. For example, he collected stones at places of his childhood, but also at the site of the great flood disaster in Okayama.
Julia Krings is an art historian. She heads the Master’s supplementary area of Museum Studies and is an officer for diversity, internationalization and faculty development at the Dean’s Office of the Faculty of Humanities at the University of Bonn.
In the Museum Studies program, students can engage with the contemporary representation of culture and art across disciplines.
In research and teaching, Julia Krings focuses on international modern and contemporary art. The connection of interdisciplinary questions is very important: What is the role of art in our political, social and historically changeable everyday life?
How can the humanities make a valuable contribution? These questions are also central to the projects and strategies she implements for the faculty and university.
Wie-yi T. Lauw
Wie-yi T. Lauw is an artist. In Redraw Tragedy she shows installation and photographic works.
Wie-yi T. Lauw studied spatial strategies at the Kunsthochschule Weißensee. She lives and works in Berlin.
Wie-yi T. Lauw’s works are poetic testimonies to a personal and yet universal preoccupation with existential themes: What are the anchors of one’s own (multicultural) history? What role do memories play as identity-forming structures? What do terms like cultural heritage and identity mean in the global and digital age? Wie-yi T. Lauw questions the absolute and the unambiguous – in favour of an open and never completed process. She breaks and contradicts with contrary materials, shows the ambivalence of (in)visibility and robs things of their original functions by means of photography, sculptures and installations.
Gena Paffendorf is a prospective art historian.
Gena Paffendorf has been studying for her master’s degree in art history with the supplementary field of museum studies at the University of Bonn since 2021, following a bachelor’s degree in art history and Romance French in Cologne.
She is concerned with the practice of exhibiting and staging, as well as postcolonialism in art history. The aspects of authenticity and identity are frequent themes here.
Currently she supports the Künstlerforum Bonn in public relations.
Grischka Petri is an art historian and lawyer. He is a member of the legal helpdesk at NFDI4Culture and a lecturer in art history at the University of Bonn.
As part of his work for NFDI4Culture, he deals with the digital transformation at cultural institutions and research data management in an advisory capacity. As a lawyer, he is concerned with preserving spaces of possibility for cultural mediation and creating new ones. For the Bonner Museumsstudien, he regularly organizes practical workshops on museum law topics.
Grit Ruhland is an artist, in the exhibition she shows her installations.
Grit Ruhland studied sculpture and spatial concepts at the HfBK Dresden. She did her doctorate at the Bauhaus University Weimar on post uranium mining landscapes. She lives and works in Dresden and Berlin.
Her artistic work is based on a conceptual approach and includes participatory projects, art in public space, auditory installations, interviews and drawings, as well as interaction with scientific institutes and topics. For Ruhland, the region around Gera/Ronneburg was a summer retreat as a child; her grandparents’ house stood in the middle of this uranium mining landscape.
As an artist, she has since discovered this theme for herself and has documented the changes over the years – in text, image and sound. “Folgelandschaft”, for example, is a narrative-aesthetic search for traces in a constantly changing cultural landscape in Eastern Thuringia. All the recordings are narratives about processes and they report indirectly about conditions, characteristics and events.
Michael Stockhausen is an art historian. He enriches the exhibition and digital programme with critical thoughts in words and text.
Michael Stockhausen studied art history and literature. Since 2014, he has been teaching at the Art History Institute of the University of Bonn, among other places, with a focus on modern and contemporary art as well as art theory. He lives and works in Bonn. He has conceived and directed various exhibitions and event formats, writes artist texts, catalogue essays and reviews.
Rie Tanji is an artist. In the Redraw Tragedy exhibition she shows her wall works.
Rie Tanji was born in 1983 in Fukushima Prefecture. She graduated from the Okinawa Prefectural University of Arts. She lives and works in Okinawa, Japan.
In 2011, she experienced the earthquake and tsunami in Japan in Tokyo. Her hometown and its nature were contaminated by nuclear power. Many people lost their homes. The nature necessary for human life was destroyed by human hands.
This experience has greatly changed her sculpture, she is mainly concerned with “nature”, “living”, “place”, “memory”. For this, she uses plaster, concrete, and materials sold in DIY stores. She exhibits in galleries, but also in abandoned houses.
A central theme of Rie Tanji’s work is the outside and the inside. In the spaces we inhabit every day, she looks at the part that separates one’s home from the outside world: the wall.
Roberto Uribe Castro
Roberto Uribe Castro is an artist. In the Redraw Tragedy exhibition he shows his installation work and a joint project with Wie-yi T. Lauw.
Born in Bogotá, Colombia, in 1974, he graduated from the University of the Andes and holds a Master’s degree in Spatial Strategies from the Hochschule für Künste Weißensee in Berlin. He currently lives and works in Berlin.
Roberto Uribe Castro’s practice focuses on how colonial urban landscapes persist over time. Using temporary / ephemeral interventions made with materials and elements present or collected from the site of the intervention, Uribe-Castro subtly alters the site to make forgotten historical events visible.
Natalia Wehler is an artist and, together with Hiroyuki Kobayashi, the initiator of the exhibition Redraw Tragedy.
Natalia Wehler studied historical-cultural information sciences for the humanities. She lives and works in Cologne.
In her artistic work, she currently combines the traditional image carrier wood and its printed image with modern multimedia elements such as media projection, audio and video. Since 2011, she has been working permanently on several woodcut series on the nuclear age, dealing with historical and current aspects. “A catastrophe like Fukushima, the dropping of a nuclear bomb or the contamination of entire regions tempts us to assume clear-cut conditions. Shouldn’t a subsequent society be able to be described in clear terms?”