Ulrike [jULEs] Gerhardt

The anthology „From Debris to Sediment“ has now been published on meson.press including an article by @julesdebog , which a.o. discusses our film SUN UNDER GROUND. „Ulrike Gerhardt’s contribution to this volume is concerned with contemporary artistic research on landscapes altered by human intervention and their connections to “sedimented” histories. At the center of her essay are recent audiovisual works by Anna Zett, Larisa Crunțeanu and Sonja Hornung, and Mareike Bernien and Alex Gerbaulet. All of these artists deal with the legacy of mining in the former GDR through practices that Gerhardt calls “aesthetic aftercare.” Approaching the specific “sacrifice zones” of socialist resource extraction, the video works revolve around rock piles, uranium ore deposits, and open-cast mining landscapes, in addition to other man-made landmarks such as slag heaps or artificial lakes. The works approach these formations as allegories for buried layers of history, such as the environmental movement of the GDR. Not exactly solid ground, polluted areas and contaminated soils become places where official narratives erode, and sediments of time become slippery.“ (Excerpt from the foreword by Petra Löffler and Felix Hasebrink)

In the name of D’EST, and as an art scholar, I want to say a few words about Henrike Naumann—one of my heroines. When I first encountered her work at @galeriewedding in 2016 and had the chance to speak with her, I was deeply moved. It was the first time I saw someone aesthetically capture my own confusing socialisation. As a former East German kid, I watched so many familiar circles turn unrecognisable after 1989, some becoming oblivious and fascist. Henrike gave a voice to artists and cultural producers of my generation. She was deeply committed to the intersection of art and politics, and she always made time for a friendly, heartfelt chat. I hold many images of my children touching her installations, and she was one of the most inspiring, materialist positions shaping my writing and curating. I was looking forward to this summer more than I can say because of her and @sungtieu ‘s participation in Venice, a true milestone for a horizontal, alter-global art history. With @dest_platform , we have shown and collectively discussed her video piece “Triangular Stories” (2012) —part of a larger installation about NSU—in multiple places in Europe and beyond. Warm embraces to everyone who will also keep her work and thinking alive, and to her family. Henrike, you will be sorely missed. Yours, Ulrike and the D’ESTies 💔 @henrikenaumann @district_berlin #wildeswiederholen #postsocialism #postost #generationtransformation #museumoftrance

`•´¯`•» 𝕜𝕠-𝕜𝕣𝕖𝕒𝕥𝕚𝕠𝕟 𝕧𝕠𝕣 𝕕𝕖𝕞 𝕙𝕠𝕣𝕚𝕫𝕠𝕟𝕥 𝕕𝕖𝕤 𝕗𝕠𝕣𝕞𝕖𝕣 𝕨𝕖𝕤𝕥: 𝕖𝕚𝕟 ä𝕤𝕥𝕙𝕖𝕥𝕚𝕤𝕔𝕙-𝕕𝕚𝕕𝕒𝕜𝕥𝕚𝕤𝕔𝕙𝕖𝕤 𝕡𝕣𝕚𝕟𝕫𝕚𝕡 «•´¯`•` Vortrag, @ph_karlsruhe_kunst , 10.12.2025 Vor einigen Tagen war unsere Kollegin Ulrike Gerhardt zu Gast an der PH Karlsruhe und dachte über den Begriff der 𝕜𝕠-𝕜𝕣𝕖𝕒𝕥𝕚𝕠𝕟 und seine Bedeutung für zeitgenössische Positionen kultureller Bildung nach. Welches Potenzial birgt der Begriff der Ko-Kreation für translokale Bildungsprozesse? Der Beitrag verortete Ko-Kreation als ästhetisch-didaktisches Prinzip im Feld von partizipativer Ästhetik, (post-)digitaler Medienkultur und geopolitischen Konstruktionen. Anhand ausgewählter Kunstwerke – etwa „to slip, to slide, to glitch“ (2024) von Larisa Crunțeanu & Sonja Hornung, „Free Recall“ (2024/25) von Vanessa Gravenor oder „Khtobtogone“ (2021) von Sara Sadik – gab sie einen Einblick in ästhetisch-künstlerische Forschungsarbeiten, die u.a. partizipatives Storytelling, postwestliche Erinnerungsräume sowie neue Formen des postdigitalen Sozialen mit dem Smartphone hervorbringen. Zudem zeigte sie Beispiele aus der Lehre und Forschung unseres Arbeitsbereiches @art.education.uol an der Carl von Ossietzky Uni Oldenburg, um die hiesigen differenzsensiblen, inklusiven und ästhetisch-forschenden Ansätze zu veranschaulichen. ☄️📲🩼 Ulrike Gerhardt ist Kunst- und Kulturwissenschaftlerin an der Carl von Ossietzky Universität Oldenburg und seit 2010 Mitglied von District * Schule ohne Zentrum. 2021 promovierte sie an der Leuphana Universität Lüneburg zu zeitgenössischen Videoarbeiten, die den Umbruch nach 1989/91 verhandeln. Derzeit arbeitet sie im Projekt DigiProSMK (2023–26) zur digitalen Transformation kunstbezogener Bildungsräume. Bilder: Sara Sadik, Khtobtogone (2021), 16:08 min. Larisa Crunţeanu & Sonja Hornung, to slip, to slide, to glitch (2024), two-channel video installation, 20 min. Vanessa Gravenor, Free Recall (2024/25), 25 min. @sarasadikofficiel @larisacrunteanu @sonja.tineke.hornung @vanessa_gravenor @uni.oldenburg @district_berlin @dest_platform @kulturvermittlung.karlsruhe #cocreation #postwest #formerwest #michaelakaiser @ninaahoki #marionseiler

Evening Screening Free Recall: Architectures of Baltic Military History Vanessa Gravenor in Conversation with Ulrike Gerhardt 📆Friday December 5 ⏱️18:00-19:30 📍Ottestr. 1 | 24340 Eckernförde @otte1.residency English text follows DE: Die Abendvorführung „Free Recall: Architekturen baltischer Militärgeschichte“ vereint zwei aktuelle kurze Videoessays und ein neu begonnenes künstlerisches Forschungsprojekt der in Berlin lebenden Künstlerin Vanessa Gravenor, die derzeit Artist-in-Residence im Otte 1 Künstlerhaus Eckernförde ist. Ihre Videoessays sind das Ergebnis einer mehrjährigen Recherche der Künstlerin zu Warnübungen, ideologisch geprägten historischen Werbeanzeigen, Manövern und hydrologischen Ritualen vom Kalten Krieg bis zur Gegenwart. Im Anschluss an das Screening wird die Künstlerin mit der Kunstwissenschaftlerin und Kunstvermittlerin Ulrike Gerhardt über Vanessa Gravenors materielle und korporeale Inszenierung von Landschaft als ein Speichermedium menschlicher Erinnerungen sprechen. —- EN The screening evening “Free Recall: Architectures of Baltic Military History” brings together two recent short video essays and a newly begun artistic research project by Berlin-based artist Vanessa Gravenor, current artist-in-residence at Otte 1 Künstlerhaus Eckernförde. Her video essays come out of the artist’s multi-year research into warning exercises, ideologically influenced historical advertisements, maneuvers, and hydrological rituals from the Cold War to the present. Following the screening, the artist will be in conversation with visual culture studies scholar and art educator Ulrike Gerhardt about Vanessa Gravenor’s material and corporeal staging of landscape as a storage medium for human memories. . . . Trailer: Vanessa Gravenor, Free Recall, 25 Min, UHD, Stereo Sound #DEST #videoart #balticsea #eckernfördekunst #ostseekunst #memory

D’EST presents Anti-Geographies of Collective Desires Zine Launch with Screenings, Conversations, Readings and Songs ꧁༺ 𝓝𝓸𝓿𝓮𝓶𝓫𝓮𝓻 22, 2025, 9 𝓹𝓶 ༻꧂ with contributions by 🌸ꗥ～ꗥ🌸 𝐀𝐧𝐠𝐞𝐥𝐢𝐤𝐚 𝐍𝐠𝐮𝐲𝐞𝐧, 𝐅𝐞𝐡𝐫𝐚𝐬 𝐏𝐮𝐛𝐥𝐢𝐬𝐡𝐢𝐧𝐠 𝐏𝐫𝐚𝐜𝐭𝐢𝐜𝐞𝐬 𝐰𝐢𝐭𝐡 𝐋𝐨𝐭𝐮𝐬: 𝐀𝐟𝐫𝐨-𝐀𝐬𝐢𝐚𝐧 𝐖𝐫𝐢𝐭𝐢𝐧𝐠𝐬 𝐚𝐧𝐝 𝐅𝐚𝐢𝐫𝐮𝐳, 𝐆𝐮𝐥𝐳𝐚𝐭 𝐌𝐚𝐭𝐢𝐬𝐚𝐤𝐨𝐯𝐚, 𝐉𝐲𝐥 𝐅𝐫𝐚𝐧𝐳𝐛𝐞𝐜𝐤𝐞𝐫, 𝐊𝐫ё𝐥𝐞𝐱 𝐳𝐞𝐧𝐭𝐫𝐞, 𝐍𝐡à 𝐒à𝐧 𝐂𝐨𝐥𝐥𝐞𝐜𝐭𝐢𝐯𝐞, 𝐍𝐢𝐧𝐨 𝐁𝐮𝐥𝐥𝐢𝐧𝐠, 𝐎𝐦𝐚𝐫 𝐆𝐚𝐛𝐫𝐢𝐞𝐥 𝐃𝐞𝐥𝐧𝐞𝐯𝐨, 𝐒𝐮𝐳𝐚 𝐇𝐮𝐬𝐬𝐞, 𝐔𝐥𝐫𝐢𝐤𝐞 𝐆𝐞𝐫𝐡𝐚𝐫𝐝𝐭, 𝐚𝐧𝐝 𝐕ũ 𝐓. 𝐓𝐡𝐮 𝐇à 🌸ꗥ～ꗥ🌸 The third edition of The Social Life of Film takes place from 20–23 Nov. 2025 in Berlin. Hosted by anorak, carrick bell, and Kristofer Woods in collaboration with Aktionshaus, the congress will centre on alternative structures of support and solidarity. On this occasion, D’EST launches a new series of zines accompanying the cycle 2. The zine series is part of D’EST’s ongoing investigation into post-socialist, decolonial and queer feminist perspectives in moving-image cultures. The evening brings together three chapters of the cycle: Krёlex zentre’s reflections on translocal queer imaginaries from Central Asia; Nhà Sàn Collective’s exploration of Vietnamese pop and underground music as an archive of political desire and ecological utopia; and Fehras Publishing Practices’ Hader Halal [Present is Halal], a collective fabulation around the literary journal Lotus: Afro-Asian Writings (1968-1990s), with a focus on Palestine and connected spaces of resistance and liberation. Through films, readings, and songs, the evening traces how artistic practices interconnect anti-colonial & anti-totalitarian socialist histories and life worlds from different times and geographies. Please come by and share this moment with us! @anorakanorak @dest_platform @district_berlin , @ramogabriel @fehras_publishing_practices , @nhasancollective @nino_pauli @district_berlin @samirustom @printeretto @julesdebog @ruthia_jen @berlinerhefte #VũTThuHà @goosindraa #AngelikaNguyen #GulzatMatisakova #JylFranzbecker #Krёlexzentre #suzahusse @krisjwoods @johannamarkert @lukas_.ludwig

Workshop: „Ökologische Beunruhigung: Kunstpädagogisches Re-Visioning in der Virtual Reality“ mit Daniel Hengst (freier Künstler), Prof. Dr. M. Kaiser, Dr. U. Gerhardt, Tagung „Vision & Re-Vision. Nachhaltigkeit als Fokus künstlerischer Forschung im Kontext von Kunstpädagogik“, Universität Bremen, 26.09.25 Wie können wir kunstpädagogische Lernräume gestalten, in denen sich künstlerische Forschung, ökologische Fragen und digitale Technologien gegenseitig bereichern? Diese Frage stand im Zentrum unseres Workshops, der diesen Herbst stattfand.⚗️ Wir präsentierten den eigens entwickelten VR-Raum „Ökologische Beunruhigung“ – ein interdisziplinäres Fortbildungsformat, das Lehrkräfte zur Reflexion einlädt. Ausgangspunkt war die Überlegung, welche Formen der Re-Vision Fortbildungen brauchen, um eine künstlerisch-forschende, prozessorientierte und verkörperte Bildungsarbeit zu ermöglichen. Im Fokus standen VR-Bildpraktiken, ihre Bedeutung für eine praxisnahe Professionalisierung sowie das Re-Visioning von Ökologien als kunstpädagogische Methode. Unter Co-Leitung des Künstlers Daniel Hengst verband der Workshop künstlerisch-wissenschaftliche Reflexion mit praxisnaher Erprobung und widmete sich besonders der Aktivierung seiner VR-Arbeit „Blooming Love Werkstatt“ (2020/24) dem Thema Moor. Hengst arbeitet an einer Re-Vision übersehener Moorpflanzen und entwickelt eine Perspektive, die Kultur-/Natur-Dichotomien neu denkt. Im Sinne der Bildung für nachhaltige Entwicklung (BNE) setzt er sich für den Stellenwert von Moorpflanzen als zentrale Akteur*innen des Klimaschutzes ein.🌿🔭 „Ökologische Beunruhigung“ versteht sich als ein nachhaltiges kunstpädagogisches Format, in dem Ökologien immersiv und gemeinschaftlich erlebt werden können. Dabei steht ein Lernen im Vordergrund, das digitale und analoge Dimensionen nicht trennt, sondern sie sinnlich, empathisch und transformativ miteinander verknüpft. 📸: U. Gerhardt & N. Ahokas • • • #danielhengst #michaelakaiser #plantstudies #peatland #moorekuscheln #sensingpeat #katausten #duzhang #chantalkueng #kunstundnachhaltigkeit #künstlerischeforschung @art.education.uol @digiprosmk @uni_bremen @uni.oldenburg

Last year, at @alpha_nova_galerie_futura in Berlin, the duo exhibition “to slip, to slide, to glitch” (2024) by Larisa Crunțeanu and Sonja Hornung took place, organized in curatorial collaboration with Katharina Koch @katharinakoch77 and Sylvia Sadzinski @sylv_inski from June 06 till July 12, 2024. One year later, the accompanying publication has been conceptualized, designed and printed including an essay on “geotraumatic speculation” written by me. Larisa Crunțeanu and Sonja Hornung’s works present a fascinating and materialist critique of extractivism, examining local histories of lignite mining in Lusatia as well as copper and gold mining in the Apuseni Mountains. With their video works and installations, they create new mythologies that reflect the artists‘ speculative approach to understanding the damage and “glitches” within these scarred landscapes in East Germany and Romania. With texts and essays by Larisa Crunțeanu & Sonja Hornung, Elisa T. Bertuzzo, and me, an interview with Stephanie Danielle Roth and contributions by Naomi Rincón-Gallardo, Judy Rabinowitz Price, Eva Ďurovec, Barbara Marcel & Andreas Döpke, knowbotiq & ~pes (Elizabeth Gallón-Droste and Pablo Torres), Madeleine Andersson and Dragoș Hanciu. Grateful for the chance to reflect on disrupted, postindustrial ecosystems through the lens of post-socialist art. Many thanks also to Lily Wittenburg @lily_kaon for the magical support and wisdom. 🌏🧙🏼〰️⛰️👁️ @sonja.tineke.hornung @larisacrunteanu @knowbotiq @barbaramarcel7 @elisa.t.bertuzzo @stephaniedanielleroth @judyrabinowitzprice @jeetze_hausprojekt @madeleine_andersson_ @dragoshanciu #ecology #feministscienceandtechnologystudies #fieldnotes #landscape #natureculture #shiftinghistories #larisacrunțeanu #sonjahornung #katharinakoch #sylviasadzinski #elisatbertuzzo #ulrikegerhardt #stephaniedanielleroth #naomirincóngallardo #judyrabinowitzprice #evadurovec #barbaramarcel #andreasdöpke #knowbotiq #elizabethgallondroste #pablotorres #madeleineandersson #dragoshanciu #greencapitalism #socialistanthropocene #glitchingbody #geotrauma #ghostmines #aestheticaftercare #extractivistzone

𝙻𝚊𝚞𝚗𝚌𝚑 𝚘𝚏 𝙸𝙽𝚂𝙴𝚁𝚃 𝚒𝚜𝚜𝚞𝚎 𝙽𝚘. 𝟼 𝚃𝚛𝚘𝚞𝚋𝚕𝚎𝚍 𝙼𝚊𝚝𝚝𝚎𝚛—𝚃𝚑𝚒𝚗𝚔𝚒𝚗𝚐 𝚠𝚒𝚝𝚑 𝚂𝚎𝚍𝚒𝚖𝚎𝚗𝚝𝚎𝚍 𝙷𝚒𝚜𝚝𝚘𝚛𝚒𝚎𝚜 Research Focus: Cultural Analysis in the Arts. Zurich University of the Arts, Launch: @material_zh Material. Raum für Buchkultur, Klingenstrasse 23, 8005 Zurich, Jan. 15, 2025 Mid Jan. 2025, together with artist Sonja Hornung, Julia Wolf and I introduced our INSERT issue 𝚃𝚛𝚘𝚞𝚋𝚕𝚎𝚍 𝙼𝚊𝚝𝚝𝚎𝚛—𝚃𝚑𝚒𝚗𝚔𝚒𝚗𝚐 𝚠𝚒𝚝𝚑 𝚂𝚎𝚍𝚒𝚖𝚎𝚗𝚝𝚎𝚍 𝙷𝚒𝚜𝚝𝚘𝚛𝚒𝚎𝚜, presented its content and shared a beautiful evening with an engaged and heartwarming audience. In addition to an introductory editorial, the issue includes insights and reflections by Mareike Bernien/Alex Gerbaulet @alex_gerbaulet , Hera Büyüktaşcıyan @hera.buyuktasciyan_studio , Sladja Blažan @slazanbl , Larisa Crunțeanu @larisacrunteanu /Sonja Hornung @sonja.tineke.hornung , Kerstin Schroedinger @kschroedinger , Heather Davis, Oxana Timofeeva @antisexus123 and Ingrid Halland @tio2_project . The issue’s authors conceive new narrations that were created out of matters of care, that lead to a transformed being-in-the-world and not least expand our ability to imagine history. After the launch night, we spent the following day with a group of students in the inspiring seminar “Matter(s) that matter” by Sønke Gau and Sigrid Adorf at @zhdkcampus . A huge thank you to all authors, Sigrid Adorf, Sonja Hornung, Noëmie Stähli, Laurin Huber, @material_zh Raum für Buchkultur and especially to my co-editor Julia Wolf @juhuuuliaaa for their unwavering support and curiosity! 🪨🪾🪡🪸🌪️💚➰Link in bio. #troubledmatter #remains #sedimentedhistories #haunting #geotrauma #plasticity #newmaterialism #morethanhuman #ecology #extractivistgaze #natureculture #shiftinghistories #artisticresearch #memorywork #mattermateriality #materialpoetics #palimpsest #animacy #romforkunstogarkitektur #oxanatimofeeva #mareikebernien #sonjahornung #juliawolf #heatherdavis #sigridadorf #ingridhalland #sladjablažan #laurinhuber @pong_film_berlin @rom_for_kunst_og_arkitektur #revisioninghistories

During the winter term 2024/25, Julia Wolf and I were invited to co-edit the 6th INSERT issue 𝚃𝚛𝚘𝚞𝚋𝚕𝚎𝚍 𝙼𝚊𝚝𝚝𝚎𝚛—𝚃𝚑𝚒𝚗𝚔𝚒𝚗𝚐 𝚠𝚒𝚝𝚑 𝚂𝚎𝚍𝚒𝚖𝚎𝚗𝚝𝚎𝚍 𝙷𝚒𝚜𝚝𝚘𝚛𝚒𝚎𝚜, which examines the complex connections between materiality, crises and (artistic) historiographies by focussing on material traces as carriers of cultural, social and political meaning. With troubled matter, a concept is developed that makes it possible to think “with” the sedimented histories that characterise matter. The contributions shed light on how material agency can be made perceptible, artistically researched and conceptualised in cultural studies using specific techniques. The issue invites a new understanding of materiality in the field of tension between geological traumas and a “not-yet-named.” Link in bio. 🪾🪨🩻 Edited by Julia Wolf and me. Contributors: Mareike Bernien/Alex Gerbaulet, Hera Büyüktaşcıyan, Sladja Blažan, Larisa Crunțeanu/Sonja Hornung, Kerstin Schroedinger, Heather Davis, Oxana Timofeeva and Ingrid Halland. @tio2_project @sonja.tineke.hornung @hera.buyuktasciyan_studio @alex_gerbaulet @larisacrunteanu @slazanbl @kschroedinger @pong_film_berlin @julesdebog @antisexus123 @zhdkcampus @material_zh @rom_for_kunst_og_arkitektur #oxanatimofeeva #mareikebernien #sonjahornung #juliawolf @juhuuuliaaa #heatherdavis #sigridadorf #ingridhalland #sladjablažan #ulrikegerhardt #laurinhuber #mattersofcare #materialecologies #matter #materiality #performingremains #sedimentedhistories #haunting #geotrauma #plasticity #plastocene #newmaterialisms #morethanhuman #troubledmatter

„Ö𝗸𝗼𝗹𝗼𝗴𝗶𝘀𝗰𝗵𝗲 𝗕𝗲𝘂𝗻𝗿𝘂𝗵𝗶𝗴𝘂𝗻𝗴“. 𝗘𝗶𝗻 ö𝗸𝗼𝗽ä𝗱𝗮𝗴𝗼𝗴𝗶𝘀𝗰𝗵𝗲𝗿 𝗦𝗼𝗰𝗶𝗮𝗹 𝗩𝗥-𝗥𝗮𝘂𝗺 𝗺𝗶𝘁 𝗞𝗮𝘁 𝗔𝘂𝘀𝘁𝗲𝗻, 𝗗𝗮𝗻𝗶𝗲𝗹 𝗛𝗲𝗻𝗴𝘀𝘁, 𝗖𝗵𝗮𝗻𝘁𝗮𝗹 𝗞ü𝗻𝗴 & 𝗗𝘂 𝗭𝗵𝗮𝗻𝗴, 𝗖𝗮𝗿𝗹 𝘃𝗼𝗻 𝗢𝘀𝘀𝗶𝗲𝘁𝘇𝗸𝘆 𝗨𝗻𝗶𝘃𝗲𝗿𝘀𝗶𝘁ä𝘁 𝗢𝗹𝗱𝗲𝗻𝗯𝘂𝗿𝗴, 𝟮𝟬𝟮𝟯-𝟮𝟬𝟮𝟲 Zum Abschluss der Einblicke in den Social VR-Raum eine letzte Übersicht: Im Rahmen des DigiProSMK Projektes wurden in Zusammenarbeit mit den Künstler*innen Daniel Hengst @danielhengst_jitterhorse , Kat Austen @katausten , Du Zhang @deserts245 sowie mit der Kunstvermittlerin Chantal Küng @chantal_kueng eigene szenische Räume innerhalb einer Social VR-Umgebung konzipiert, die sich einzigartigen Menschen-Pflanzen-Beziehungen widmen. Die Begehung beginnt in einem Foyer mit der Lecture Performance „Alaria“ von Chantal Küng (2024), gefolgt von adaptieren Varianten der VR-Kunstwerke „Blooming Love Werkstatt“ von Daniel Hengst (2020/24), „Stranger to the Trees“ von Kat Austen (2021/24) und abschließend „Metamorphosis“ von Du Zhang (2022/24). Der Social VR-Raum „Ökologische Beunruhigung“ stellt ein nachhaltiges Professionalisierungsformat dar, das die immersiven Potentiale von VR-Kunst experimentell auslotet. Ziel des Raumes ist es, im Anschluss an die Kunstpädagogik, Visual Culture Studies und die Kunstvermittlung ein gruppengeeignetes VR-Lernformat zu präsentieren. Dieses Jahr wird er u.a. vom 02.-04. Juli 2025 an die CvO Universität Oldenburg, vom 12.-13. Juni 2025 an die Christian-Albrechts-Universität Kiel und vom 25.-26. September an die Universität Bremen wandern. Das Projekt ist Teil des Kompetenzverbundes @lernendigitalde und wird vom @bmbf.bund gefördert. #DigiProSMK #Professionalisierung #Fortbildung #Kompetenzverbund #LernenDigital #KompetenzzentrumMusikKunstSport #Kunst #Kunstunterricht #Kunstlehrkräfte #Bildung #Schule #ZukunftSchule #chtulucene #michaelakaiser #ulrikegerhardt #renewilzeck #mehralsmenschlich #künstlerischeforschung @uni.oldenburg @julesdebog @ecopedagogy @peatlandcosmologies #sensingpeat #virtualnature #virtualreality #decolonizeplants #digitalplants

𝗗𝘂 𝗭𝗵𝗮𝗻𝗴 “𝗠𝗲𝘁𝗮𝗺𝗼𝗿𝗽𝗵𝗼𝘀𝗶𝘀” 𝗦𝗼𝗰𝗶𝗮𝗹 𝗩𝗥 𝘃𝗲𝗿𝘀𝗶𝗼𝗻, 𝟮𝟬𝟮𝟮/𝟮𝟰 “𝗘𝗰𝗼𝗹𝗼𝗴𝗶𝗰𝗮𝗹 𝗨𝗻𝗿𝗲𝘀𝘁." 𝗔𝗻 𝗲𝗰𝗼-𝗽𝗲𝗱𝗮𝗴𝗼𝗴𝗶𝗰𝗮𝗹 𝘀𝗼𝗰𝗶𝗮𝗹 𝗩𝗥 𝘀𝗽𝗮𝗰𝗲 𝘄𝗶𝘁𝗵 𝗞𝗮𝘁 𝗔𝘂𝘀𝘁𝗲𝗻, 𝗗𝗮𝗻𝗶𝗲𝗹 𝗛𝗲𝗻𝗴𝘀𝘁, 𝗖𝗵𝗮𝗻𝘁𝗮𝗹 𝗞ü𝗻𝗴 𝗮𝗻𝗱 𝗗𝘂 𝗭𝗵𝗮𝗻𝗴, 𝗖𝗮𝗿𝗹 𝘃𝗼𝗻 𝗢𝘀𝘀𝗶𝗲𝘁𝘇𝗸𝘆 𝗨𝗻𝗶𝘃𝗲𝗿𝘀𝗶𝘁𝘆 𝗼𝗳 𝗢𝗹𝗱𝗲𝗻𝗯𝘂𝗿𝗴 In her works, artist Du Zhang @deserts245 uses virtual reality to draw attention to the vulnerability of nature. Her work “Metamorphosis” (2022/24) in the social VR space “Ecological Unrest” shows how plants and animals take over historical urban architecture. The “Manifesto of the Third Landscape” (2004) by Gilles Clément describes how various landscape fragments have a similarity: According to Gilles Clément, they all form a refuge for a rich biodiversity that would otherwise be suppressed. House 3 of the former naval hospital in Kiel-Wik is at the center of Du Zhang's “Metamorphosis” and opens up new perspectives on the relationship between nature and culture. Zhang criticizes the prevailing paradigm of modern urban planning and architecture, which often aims to exclude “natural” entities. Instead, she proposes a shift towards designing “with” nature rather than “against” it. The project is part of the @lernendigitalde competence network and is funded by @bmbf.bund . @katausten @danielhengst_jitterhorse @chantal_kueng @shishi_hey @muthesiuskunsthochschulekiel @michaeltrepel #duzhang #plantruins #plantblindness #virtualnature #criticalplantstudies #ecopedagogy #chtulucene #digitalplants #virtualreality #morethanhuman #artisticresearch #DigiProSMK #Professionalisierung #LernenDigital #KompetenzzentrumMusikKunstSport #Kunst #Kunstunterricht #Kunstlehrkräfte #Bildung #ZukunftSchule #michaelakaiser #ulrikegerhardt

𝗗𝘂 𝗭𝗵𝗮𝗻𝗴 “𝗠𝗲𝘁𝗮𝗺𝗼𝗿𝗽𝗵𝗼𝘀𝗶𝘀” 𝗦𝗼𝗰𝗶𝗮𝗹 𝗩𝗥 𝘃𝗲𝗿𝘀𝗶𝗼𝗻, 𝟮𝟬𝟮𝟮/𝟮𝟰 “𝗘𝗰𝗼𝗹𝗼𝗴𝗶𝗰𝗮𝗹 𝗨𝗻𝗿𝗲𝘀𝘁." 𝗔𝗻 𝗲𝗰𝗼-𝗽𝗲𝗱𝗮𝗴𝗼𝗴𝗶𝗰𝗮𝗹 𝘀𝗼𝗰𝗶𝗮𝗹 𝗩𝗥 𝘀𝗽𝗮𝗰𝗲 𝘄𝗶𝘁𝗵 𝗞𝗮𝘁 𝗔𝘂𝘀𝘁𝗲𝗻, 𝗗𝗮𝗻𝗶𝗲𝗹 𝗛𝗲𝗻𝗴𝘀𝘁, 𝗖𝗵𝗮𝗻𝘁𝗮𝗹 𝗞ü𝗻𝗴 𝗮𝗻𝗱 𝗗𝘂 𝗭𝗵𝗮𝗻𝗴, 𝗖𝗮𝗿𝗹 𝘃𝗼𝗻 𝗢𝘀𝘀𝗶𝗲𝘁𝘇𝗸𝘆 𝗨𝗻𝗶𝘃𝗲𝗿𝘀𝗶𝘁𝘆 𝗼𝗳 𝗢𝗹𝗱𝗲𝗻𝗯𝘂𝗿𝗴 For the social VR space “Ecological Unrest,” artist Du Zhang @deserts245 translated her master's project “Metamorphosis” into an eco-pedagogically inspired VR environment, co-developed by @uni.oldenburg with @humboldt.uni . Du Zhang created an utopia within virtual reality in which nature takes over a human city ruin. House 3 of a former naval hospital in Kiel-Wik, which was built in 1907 as a hospital, is shown. The hospital and its architecturally significant pavilion buildings were used for over 100 years until it was abandoned in 2008. It is an architectural structure that people once built, dominated and finally abandoned. While the former use has left clear traces, Du Zhang proposes an artistic re-vision in which the historic architecture is co-designed and even “reclaimed” by nature. The project is part of the @lernendigitalde competence network and is funded by @bmbf.bund . @katausten @danielhengst_jitterhorse @chantal_kueng @muthesiuskunsthochschulekiel @shishi_hey @michaeltrepel @gallery_cubeplus #kielwiek #marinelazarett #duzhang #plantruins #plantblindness #virtualnature #criticalplantstudies #ecopedagogy #chtulucene #digitalplants #virtualreality #morethanhuman #artisticresearch #DigiProSMK #Professionalisierung #LernenDigital #KompetenzzentrumMusikKunstSport #Kunst #Kunstunterricht #Kunstlehrkräfte #Bildung #ZukunftSchule #michaelakaiser #ulrikegerhardt