into the fields residency 2025 | hills of Uckermark | cross-country improvisations | ball games | flinta* bonfires | collective endeavors
There are many ways to remember. One is sitting together in a (metaphorical) circle and throwing images and anecdotes into the round. Another one is looking at photographs. This post is a combination of both. As facilitators of into the fields (March+April 2025), we – Johanna Ackva, Anna Bartholdy & Judith Milz – want to share some of what has made this project so unforgettable for us. Looking back, we realize that into the fields was a journey not only of mutual discovery among a group of special individuals. Together, we transitioned from winter to spring by way of first baths, bonfires, ostrich egg omelettes and long walks in the woods.
As hosts of this residency it was a great satisfaction to observe how 7 artists became an organism with its own logic of learning, living and loving. It is impossible to list all artworks and activities that have emerged, but here are some: the color palette of Libken, a hunting tower calendar, a sauna made from mud, a music album, community cooking nights with a group of refugees, dances with bees, crooked wood objects.
Thanks to the whole team of @culturemoveseurope for the financial and administrative support that has made this project possible! Thanks to @libken_ for hosting! Thanks @selinatraun for your consultation hours announced by french horn! And finally thanks to a wonderful group of unique resident artists (and more than that): Belia Zanna Geetha Brückner (@_beliazannageetha ), Markéta Fagan (@fark_eta ), Lenka Holiková, Sophie Innmann (@sophie_innmann ), Jitka Králová (@jikra.ji ), Katarzyna Łyszka Łyszkowska (@lysz.ka ) and Gabriela Piwar (@idziegabi )!
All pictures: @kative3760
#culturemoveseurope #intothefields #uckermark
𝑹𝒆-𝑹𝒆𝒂𝒅𝒊𝒏𝒈 𝒐𝒇 𝑳𝒊𝒍𝒚 𝑮𝒓𝒆𝒆𝒏𝒉𝒂𝒎𝒔 𝟏𝟗𝟔𝟔 𝑳𝒆𝒄𝒕𝒖𝒓𝒆 𝒐𝒏 𝟒 𝑴𝒂𝒚 𝟐𝟎𝟐𝟒 𝒂𝒕 𝑩𝒂𝒅𝒊𝒔𝒄𝒉𝒆𝒓 𝑲𝒖𝒏𝒔𝒕𝒗𝒆𝒓𝒆𝒊𝒏
On May 18, 1966, Lily Greenham—an artist renowned for her formative work in sound poetry, op art and 'lingual music'—gave one of her earliest academic lectures at the Karlsruhe Academy of Fine Arts.
850 meters and nearly 60 years later, I borrowed my body and voice as a living speaker and medium to her words —performed publicly for the very first time since her initial lecture. This reenactment was part of the retrospective exhibition „Lily Greenham: An Art of Living“, at the Badischer Kunstverein in 2024 – to mark the centenary of Greenham’s birth – within the symposium "Tune In To Reality!"
Encountering Lily Greenham’s works was an experience for me – an artist, I didn’t know before, which is a shame. The exhibition was so carefully assembled and worked through, that it was easy for me to presume that even Lily Greenham would have liked it herself (even though she deceased 25 years ago). Works were shown that extrapolated Greenhams way of thinking and presenting into the possibilities of Badischer Kunstverein. You could feel the dedication the curators committed to working with the artistic Œuvre, a real passion to not only archive and catalogue Lily Greenhams work, but to bring it to live. Saying this – I was not only amazed by Lily Greenham, but also by the people conceiving the exhibition and the symposium I was part of, re-enacting Lily Greenhams 1966 lecture. (curated by James Bulley, Andrew Walsh-Lister @a___w___l , Anja Casser @badischer_kunstverein , Alex Balgiu @designingwriting , with the help of Ian Stonehouse, @bricks.from.the.kiln )
It was an unexpected pleasure to be part of this. Thank you so much, I have rarely seen such a dedicated, heartfelt and careful exhibition.
Camera: Maximilian Zschiesche
The event was accessible to deaf and hard-of-hearing individuals.
#lilygreenham #judithmilz #letcure #1966 #artacademykarlsruhe #2024
𝐏𝐫𝐢𝐯𝐚𝐭𝐞𝐏𝐫𝐢𝐧𝐭 𝐀𝐫𝐭𝐬 𝐚𝐧𝐝 𝐂𝐮𝐥𝐭𝐮𝐫𝐞 𝐑𝐞𝐬𝐢𝐝𝐞𝐧𝐜𝐲 𝐚𝐧𝐧𝐨𝐮𝐧𝐜𝐞𝐬 𝑱𝑼𝑫𝑰𝑻𝑯 𝑴𝑰𝑳𝒁
We are happy to share that from May 5th to June 5th, 2025, the artist Judith Milz will be part of our Art and Culture Residency in Skopje. In her residency, she will focus on Skopje’s multilayered history and everyday narratives as a detective “case,” including a specifically designed workshop format of interactive investigative sessions for set explorations in the city.
More info about her activities during her stay in our studio in Skopje is coming soon. STAY TUNED!
Judith Milz (1989, Germany) is an interdisciplinary artist who lives and works in Karlsruhe and Berlin, Germany. In her works, Judith explores and develops possibilities of sculptural, performative, photographic, or journalistic narration. She is interested in the incidental, everyday actions, the situational, and the anecdotal. In recent years, Judith Milz has increasingly engaged with private and public archives, currently working on the publication and radio series ‘dog politics’, which deals with the political appropriation of the German Shepherd Dog. Judith has co-run the exhibition space/bar TV-Hifi in Karlsruhe since 2020 and has published several artist books. Her performative and spatial works have been shown at the Kunststiftung Baden-Württemberg, the Kunsthalle Mannheim, the Badischer Kunstverein, the Goethe-Institut Sofia and Barın Han Istanbul, among others.
PrivatePrint Arts and Culture Residency is funded within the project “Circles of Temporary Merging” supported by the Goethe Institut Skopje.
📸 Clemens Lauer
ℎ𝑒𝑎𝑡, 𝑑𝑟𝑜𝑢𝑔ℎ𝑡, 𝑠𝑢𝑑𝑑𝑒𝑛 𝑡ℎ𝑢𝑛𝑑𝑒𝑟𝑠𝑡𝑜𝑟𝑚𝑠, 𝑙𝑒𝑡ℎ𝑎𝑟𝑔𝑦, 𝑓𝑒𝑣𝑒𝑟, 𝑚𝑎𝑑 𝑑𝑜𝑔𝑠
work and text by Cécile Kobel and Judith Milz
as part of „Blauregen“, Rhumeweg 26, Berlin-Zehlendorf, August 24th 2024
On the occasion of the farewell of Margarethe Raspé’s Villa in Zehlendorf, we, Cécile Kobel and Judith Milz, moved through the premises. Oscillating from the entrance hall, through the wintergarden, onto the sofa, the dining and living room, the bath-alcove, the library, the waiting area and up the stairs through the arbor we recited texts that traced back to the very first summer we met: a summer of heat, drought, sudden thunderstorms, lethargy, fever, mad dogs – a feeling we shared, and a mutual consent, that never left us. This day in Zehlendorf, on August 24th 2024 – 8 years later – felt like it could have been the perfect occasion to say goodbye, carried by the melancholy of late summer sunlight we dived into. And it ended with singing along to the spinet play of Katharina Ortner, who had spent the day filling the emptied spaces with the sounds of tuning this small leftover piano in the arcade. It was an assignment we understood, a task we performed, and above all, an act of friendship. Nothing more, and nothing less.
Invitation by: Lizzy Ellbrück and Louisa Raspé
First photo by Peter Oliver Wolff, thank you!
-----
Eine Annäherung
der Geruch der Tartanbahn, an einem Augustspätnachmittag
der Geruch von warmen Asphalt, auf den es zum ersten Mal wieder regnet
der Geruch von frischgemähtem Rasen
Der Geruch von reifen Tomaten im Garten
Das Geräusch der Güterwaggons hinter der Stuttgarter Straße
Das erste Mal merken, dass man zwischen den Brüsten schwitzen kann
An heißen Tagen die weißen Laken nass in die Dachfenster spannen.
Am Tennisplatz vorbeifahren.
selbst im Sommer mit einer dicken Daunendecke schlafen
abends draußen stehen, wenn die Sonne schon fast untergegangen ist, den Schlauch einmal ums Haus herumziehen und den Garten gießen
Das war
𝑒𝑖𝑛 𝑔𝑢𝑡𝑒𝑟 𝑀𝑜𝑚𝑒𝑛𝑡
Und das ist
𝑒𝑖𝑛 𝑠𝑐ℎ𝑤𝑎𝑐ℎ𝑒𝑟 𝑇𝑟𝑜𝑠𝑡
#zehlendorf #dogdays #cecilekobel #judithmilz #villa #summer #heat
“to tears to fountains” is a collaboration between Cécile Kobel, Judith Milz and Mustafa Emin Büyükcoşkun, between Berlin, Deutsche Post and Karlsruhe, between dough to waffle, ice cream and a tear.
“to tears to fountains” was supposed to be ingested during one evening at TV-Hifi on 20th July 2024 in the shared ice enjoyment (~melted~) “I dream you scream for ice cream” by Hangyan Chen and Lizzy Ellbrück.
But the package with the tear cones, baked with special ingredients, formed by hand and sent from Berlin to Karlsruhe got stuck in the mail. So it ended up in a coincidental evening, one week later, in the garden of Igor and Katarina with un-anticipated special guests. It felt once again, like everything had fallen in place just right.
Saturday, July 20, 2024
Schützenstrasse 37, Karlsruhe
and
Saturday, July 27, 2024
Morgenstrasse 42, Karlsruhe
𝑻𝒆𝒂𝒓 𝒅𝒓𝒐𝒑 𝒄𝒐𝒏𝒆
Butter
Coconut blossom sugar
Eggs
Pinch of salt
Flour
Tear
Water
𝑪𝒖𝒄𝒖𝒎𝒃𝒆𝒓-𝑴𝒆𝒍𝒐𝒏-𝑺𝒐𝒓𝒃𝒆𝒕
Cantalupe melon, Bavarian farmers cucumbers, Sugar, Sea salt, Lemon juice, Water
𝓈𝑒𝓇𝓋𝑒𝒹 𝓌𝒾𝓉𝒽 𝑒𝓍𝓉𝓇𝒶 𝓋𝒾𝓇𝑔𝒾𝓃 𝑜𝓁𝒾𝓋𝑒 𝑜𝒾𝓁
𝑻𝒂𝒓𝒓𝒂𝒈𝒐𝒏 𝑮𝒆𝒍𝒂𝒕𝒐
Whole cows milk, Heavy cream, Sugar, Salt, Tarragon leaves, Guar gum
𝓈𝑒𝓇𝓋𝑒𝒹 𝓌𝒾𝓉𝒽 𝒸𝒶𝓃𝒹𝒾𝑒𝒹 𝒸𝑜𝓇𝒾𝒶𝓃𝒹𝑒𝓇 𝓈𝑒𝑒𝒹𝓈
~~~ 🎉 ~~~🎉~~~🎉~~~
tears that the wind pushes out of the corner of your eye
tears of being touched
tears when something catches your eye
the tear when yawning
hot tears
tear of laughter
the one tear you cry on public transport
the tears that run down the side of the temples
the tear you cry because you are sad
quiet tears
silent tears
tears after sex
tears that wish to be discovered
tears from cutting onions
tears of rage
sublime tears
the tear not cried
tears in the shower
tears in the DB
a tear held back
tears swallowed
the tears you cry together
as long as the tears remain in your eyes,
you haven’t cried them
#icecream #tear #judithmilz #cecilekobel #mustafaeminüyükcoşkun #gelato #cones #tearcone #garden
All the best for the 125th birthday of the German Sheperd! It’s a moment for me to look back and contemplate on 1 ¼ centuries of bittersweet memories that started on 22nd April 1899 with Horand von Grafrath (the first and noble!). He presented himself to the light of day at the world’s first German Sheperd Association in Karlsruhe together with the inventor of the breed, Max von Stephanitz.
I don’t know any other dog, that is as much connected to the history of the 20th Century as the German Sheperd. From his deployment in warfare, to his appropriation as Hitler’s favourite animal, to his life as the only inhabitant of the Inner German Border and his separation into an Eastern and a Western German Sheperd breed. Through the work imposed on him and the resulting exploitation, he occupies a place in the world’s history carried by a body heavily used and abused for political agency. A dog body that – bred according to primarily aesthetic criteria, lower hind legs, an imperious appearance – suffers ever since from 95% hip problems.
I’ve been engaging with the German Sheperd for quite a while now, most recently by invitation of @ato.vision this spring, supposed to host a talk with the German Sheperds: „dog politics“. Due to health issues, the dogs couldn’t come but wished for cardboard proxies and sent a statement, a body appeal that seems just like made for today: „Some say our bad posture, our attitude intimidates and scares them. We are aware of this reservation, and we would like to take this moment to say that being attentive to us does not mean you have to find us cute, like to pet us or to think our hind legs are beautiful; doing us justice is shown in every subtlety of portraiture and respect for the integrity of our bodies. And we don't necessarily have to like each other for that.“
Thanks to Norina Quinte (@_____quinte ) for the trust and the talk invitation. Thanks to Johanna Ackva and Cécile Kobel (@cecilekobel ) for more to come. And especially thanks to the dogs, Happy Birthday: Anni von Markgraf, Quitte vom Unkenstein, Pio von der Willmershöhe, Xerax vom Kreidefels, Jacki vom Grenzberg.
#germansheperd #125yearsgermansheperd #judithmilz #dogpolitics
„this is not a funeral“ (2023). It’s been a year since I exhibited 4074 paintings in a closet in Paris, at Cité des Arts (@citedesartsparis ). It was one night and a room to be entered only one by one. A room that looked at you, but looking back myself I can’t quite explain where all this came from.
But there are some things that I remember, that are connected to it. I remember living in a room that had a patron, the painter Paul Gauguin. At nights, I would look out of the window wondering why Gauguin was the name patron of my room. Gauguin himself in the late 19th century dreamt about moving to the french colonies in the South Sea. But when he finally arrived in Tahiti, he realized, that the paradise envisioned had already been destroyed by french colonizers. His famous paintings don’t portray the reality of Tahiti, they only reveal inner landscapes of what he had searched for and never found in Tahiti.
It was only shortly before Gauguin left the country, that he and van Gogh met each other. van Gogh had envisioned Gauguin to become his best friend. It was a phase in van Gogh’s Œuvre where you’d find everything in pairs in his paintings in anticipation of meeting Gauguin: two chairs, two pillows, etc. But when Gauguin finally arrived, they hated each other so much, that Gauguin allegedly cut van Gogh’s ear in an Absinth quarrel.
Gauguin was van Gogh's Tahiti. Two disillusioned, insulted men. The only thing I know from long nights pondering about these two painter, is that I started and ended my career as a painter in one night, and my whole painting Œuvre ist more than double their paintings together.
While most of my projects spread out into extensive storytelling and sidestories, this came around like something that just had to be done. In the night of 12/04/23 I sat in the kitchen, and didn’t say a word about the paintings, almost detached. If someone was interested, I showed them my collection of mould in Paris and offered a Suze Tonic... I would never have done it without the encouragement of Clemens Lauer, and I can’t look at it without thinking of the friends that helped. It’s only now I realize it was mental, I didn’t back then, Bisous 100!
Rabih Mroué, normally I share a lot of words, but in this case it's very simple: thanks from the bottom of my heart (I can see it, so bare) for the last 1 1/2 years of being there as a mentor and friend, for the tears and the laughs, the conversations, for encouragement, for doubts better than regrets. For making me confident to not get corrupted, being smart and funny, and of course especially for telling me how you get on stage and don't faint out of nervosity (it's an open secret).
Thanks to @kunstbuero_bw , Antonia Marten and Regina Fasshauer making us meet. The video is from an invitation to @kunststiftung_bw where Rabih and me sat in front of people while first birds where chirping outside and then storm and thunder were raging in June 2023. Words speak louder than us.
#kunstbürobw #rabihmroue #x #judithmilz
This week @susanne.kriemann , @lenajoreis and I revisited the Asse II site, a former salt mine, which was used for the emplacement of low and intermediate level radioactive waste from 1967 to 1978. Since neither the geology of Asse nor the mine itself is suitable for the storage of radioactive waste, the waste has to be retrieved – a process that will take decades. It is possible that within these decades (which could as well be tomorrow), the mine will collapse.
The last few days we searched through the image archive of Asse II and met local activists. Today, 18.11.23, at 3 pm, we will present some of our results at the research meeting of the @ngbk_berlin working group 𝓢𝓪𝓵𝓽. 𝓒𝓵𝓪𝔂. 𝓡𝓸𝓬𝓴., “On Nuclear Pasts and Radiant Futures”.
Looking forward to the exchange with fellow artists, cultural workers, researchers, and everyone interested. And especially to diving deeper into the image archive as well the inner and outer landscapes of this nuclear repository !
Thank you @vincentschier and @flovirag for the invitation.
#saltclayrock #nuclear #nuclearwaste #energy #eternalflame #asse2 #susannekriemann #judithmilz #lenareisner
2/2 „Eternal Flame – the Radiating Archive“, 06.10.–26.11.23 at Barın Han.
Together with Moritz Appich (@moritzappich ), Cécile Kobel (@cecilekobel ), Rayna Teneva (@raynateneva ) & Mustafa Emin Büyükcoşkun (@mediarcheology ), curated by Merve Elveren (@bayanmerve )
In 2017 we began working with the image archive of the first German Nuclear Research Center, that contains approx. 210 000 photographs and moving images. Since then circled works around that image archive. The book „10%. Concerning the image Archive of a Nuclear Research Center“ (Kriemann/Milz/Schäfer/Nippert/Leinenweber) was released in 2021 and it ignited the flame to bring these single satellites together to a joint format.
„The exhibition sees the vast image archive as a cosmos that holds the potential to translate and interpret the policies of image-making. Putting a post-war West Germany nuclear archive at its core, the exhibition reveals how still and moving images—distributed to the public or used for internal purposes—not only act as a record or provide evidence of an event but also represent the governance of memory and official narration. The works in the exhibition propose questions concerning the documentary nature of recording—from speculations suggesting that fiction is creating future facts to acknowledging the contaminated reality and the existential consternation we already live in.“
Last year we exhibited these works for the first time together in Sofia at Goethe Institute. Now, exactly one year later, we are showing this joint group effort at Barın Han in Istanbul.
The original entanglement with the KIT archive was ignited by Susanne Kriemann (@susannekriemann ), who initiated the cooperation, several exhibitions and the publication. Thanks to Elke Leinenweber and Klaus Nippert (KIT archives). Best setup by Sani (@teameightarms ) The Nuclear Istanbul Edition is supported by Goethe-Institut Istanbul (@goetheinstitutistanbul ), ifa – Institut für Auslandsbeziehungen (@ifa.visualarts ) and Barın Han (@barin_han ). Teşekkürler!
Above all, I can consider myself the luckiest person I met you, my colleagues. Looking forward to a radiating future with you.
#eternalflame #judithmilz
1/2 „Eternal Flame – the Radiating Archive“, 06.10.–26.11.23 at Barın Han
Together with Moritz Appich (@moritzappich ), Cécile Kobel (@cecilekobel ), Rayna Teneva (@raynateneva ) & Mustafa Emin Büyükcoşkun (@mediarcheology ), curated by Merve Elveren (@bayanmerve )
In 2017 we began working with the image archive of the first German Nuclear Research Center, that contains approx. 210 000 photographs and moving images. Since then circled works around that image archive. The book „10%. Concerning the image Archive of a Nuclear Research Center“ (Kriemann/Milz/Schäfer/Nippert/Leinenweber) was released in 2021 and it ignited the flame to bring these single satellites together to a joint format.
„The exhibition sees the vast image archive as a cosmos that holds the potential to translate and interpret the policies of image-making. Putting a post-war West Germany nuclear archive at its core, the exhibition reveals how still and moving images—distributed to the public or used for internal purposes—not only act as a record or provide evidence of an event but also represent the governance of memory and official narration. The works in the exhibition propose questions concerning the documentary nature of recording—from speculations suggesting that fiction is creating future facts to acknowledging the contaminated reality and the existential consternation we already live in.“
Last year we exhibited these works for the first time together in Sofia at Goethe Institute. Now, exactly one year later, we are showing this joint group effort at Barın Han in Istanbul.
The original entanglement with the KIT archive was ignited by Susanne Kriemann (@susannekriemann ), who initiated the cooperation, several exhibitions and the publication. Thanks to Elke Leinenweber and Klaus Nippert (KIT archives). Best setup by Sani (@teameightarms ) The Nuclear Istanbul Edition is supported by Goethe-Institut Istanbul (@goetheinstitutistanbul ), ifa – Institut für Auslandsbeziehungen (@ifa.visualarts ) and Barın Han (@barin_han ). Teşekkürler!
Above all, I can consider myself the luckiest person I met you, my colleagues. Looking forward to a radiating future with you.
#eternalflame #judithmilz
