联结・希望・团结

前言

展览“联结、希望、团结”汇聚了多样的艺术实践，共同探讨增长与消亡、显现与消逝的命题。其核心源于朴素却意义深远的观察：始终被来自过往的层层影像、叙事与物质遗存所渗透。这些层积不断叠加、错位，并以新的形式再度浮现。它们并非沉默的遗迹，而是鲜活的结构，让过去、现在与可能的未来彼此交织。

以此为出发点，展览提出了一个问题：我们对世界的认知正在如何发生改变。关于自然、进步与控制的观念，多形成于 19 世纪的乌托邦理想与殖民思维，现如今已不再稳固。人类干预所带来的生态与社会后果已不容忽视，它们不仅改变着地貌景观，也重塑着我们的思维方式与叙事方式。在这一语境下，发展 / 增长本身呈现出愈发强烈的矛盾性：它意味着发展，但也同样意味着侵蚀与丧失。

正是这种矛盾性，催生了对变迁更为开阔的理解。发展并非仅仅是有意识抉择的结果，它诞生于规则、偶然与物质条件的相互作用之中。由此，增长可以被理解为一种从关系之中生发出来的事物，是一个不断自我调适的开放过程。我们的目光不再聚焦于既成的形态，而是转向动态的系统 —— 在其中，变化本身就是常态。

与此同时，那些并不即刻显现的事物也进入了视野。黑暗、深邃与迷茫在此并非被视作缺憾，而是一种富有创造力的状态，新的感知得以萌生。驻足静观，便能发现缓慢的节奏与渐进的过程，那些唯有在细致观察下才能领会的物质形态与时间维度。在表象之下，那些无难以被快速解读的连续性逐渐显现。

在这一语境下，诗意的破坏也被赋予了别样的含义。它不只是终结，更可以是一道切口，为新生创造可能。那些消逝的事物，往往仍以痕迹或记忆的形式继续发挥作用。毁灭打破了简单线性的进步叙事，也由此揭示出：文化意义并非只源于可见之物，同样也源于那些缺席的存在。

展览将多元视角汇聚成一幅关于循环与过渡的图景。材料、图像与意义不断变换形态，被重新解读与评估。价值并非恒定不变，它在具体语境中生成。展览亦将自身视作这一进程的一部分：一个承载关系的空间，差异在此留存，而共鸣亦在此生发。

展览标题精准概括了这一核心理念。团结并非指千篇一律的相同，而是愿意包容差异、与差异共处。希望并非建立在笃定的确定性之上，而是源于一种真切的体验：改变始终是可能的，即便在黑暗与失落弥漫的时刻亦是如此。或许，这正是艺术的使命所在：开辟出一方空间，发展不呈现为线性的进步，而是呈现为循环、迂回或往复的方式，在这一维度中，让那些恒久留存的事物，往往只有以痕迹的形式，才得以显现。

The exhibition Bündnis, Hoffnung, Solidarität [Alliance, Hope, Solidarity] brings together artistic positions that explore growth and decay, visibility and disappearance. At its core lies a simple yet consequential observation: Our present is permeated by layers of images, stories, and material remnants from the past. These layers accumulate, shift, and reappear in new forms. They are not silent relics, but living structures in which past, present, and possible futures intertwine.

From this starting point, the exhibition poses the question of how our conceptions of the world are changing. Ideas of nature, progress, and control, often shaped by utopian beliefs and colonial thinking in the 19th century, have lost their stability. The ecological and social consequences of human intervention are undeniable. They are changing not only landscapes but also our ways of thinking and telling stories. Growth, in this context, appears increasingly contradictory: It signifies development, but also erosion and loss.

From this ambivalence emerges a broader understanding of change. Development is not merely the result of conscious decisions. It arises from the interplay of rules, chance, and material conditions. Growth can thus be understood as something that emerges from relationships, as an open process that constantly adapts. The focus is less on finished forms and more on dynamic systems in which change is the norm.

This also brings into focus what is not immediately apparent. Darkness, depth, or disorientation appear here not as deficiencies, but as productive states. New perceptions can arise within them. Those who pause, discover slow rhythms and gradual processes. Forms of materiality and time that only reveal themselves upon closer inspection. Beneath the surface, continuities become visible that defy quick interpretations.

Destruction, too, takes on a different meaning in this context. It is not only an end, but can be a rupture that enables something new. What disappears often remains effective as a trace or memory. By disrupting simple narratives of progress, destruction demonstrates that cultural meaning arises not only from what is visible, but also from what is absent.

The exhibition thus connects diverse perspectives to create a picture of cycles and transitions. Materials, images, and meanings change their state, are reinterpreted, and re-evaluated. Value is not fixed; it emerges within its specific context. The exhibition sees itself as part of this process: as a space of relationships where differences persist, yet commonalities arise.

The title encapsulates this attitude. Solidarity here does not mean equality, but rather the willingness to tolerate differences. Hope is not based on certainty, but on the experience that change is possible, even where darkness or loss prevails. Perhaps this is precisely one of the tasks of art: to open spaces where development does not appear as linear progress, but as loops, detours, or recurrences. And often the things that endure, only become visible as a trace.

艺术家：乔尔・鲍曼

Artist: Joel Baumann

Joel Baumann 是卡塞尔美术学院的新媒体教授（卡塞尔美术学院前院长、国际交流处处长、视觉传达系主任），同时也是伦敦创意团体 tomato 的创始人。他曾在英国伦敦威斯敏斯特大学攻读当代媒体实践专业（学士）和超媒体（硕士）。 Joel Baumann 的研究和创作专注于交互体验、数字媒体的战略应用，以及新媒体对社会形式与交流方式的影响。他的作品既应用于媒体展览的背景中，也应用于品牌塑造和广告领域。他的客户包括索尼、三菱汽车、美国在线（AOL）、夏普、诺基亚以及红牛等知名品牌。

近期，他的作品曾在卡塞尔艺术协会、欧洲媒体艺术节（奥斯纳布吕克）以及格罗宁根的 Pavlov MediaLab 展出。

Joel Baumann is Professor of New Media at the School of Art and Design Kassel, where he has previously served as Dean, Head of International Affairs and Head of Visual Communication. He is also the founder of London-based creative collective tomato. He holds a BA in Contemporary Media Practice and an MA in Hypermedia Studies from the University of Westminster, London.
Baumann’s research and artistic practice centre on interactive experiences, the strategic deployment of digital media, and the impact of new media on social structures and communication. His works span media art exhibitions, brand identity and commercial advertising. His client roster includes global brands such as Sony, Mitsubishi Motors, AOL, Sharp, Nokia and Red Bull.

His recent exhibitions have been held at Kassel Art Association, European Media Art Festival (Osnabrück) and Pavlov MediaLab in Groningen.

艺术家：埃里克・普莱斯

Artist: Eric Pries

个人信息
1975 年 9 月 3 日生于东德莱比锡
教育经历
1996–2000 经济学专业学习 2004–2015 卡塞尔艺术学院纯艺术专业学习
2013 年起，与玛雅・维尔库斯合作，以组合名 WIRKUSPRIES 开展艺术创作
展览履历
2025
《WAMS》（与托比亚斯・伯姆合作声音现场表演），德累斯顿先锋档案馆
2024
《我们是千禧之星》，德累斯顿先锋档案馆
《我们是千禧之星》，魏玛 MBOOKS 艺术空间
2023
费尔塔格画廊，卡塞尔
2022
《WAMS》，柏林罗莎・卢森堡广场艺术协会
2021
《失物招领》，卡塞尔南翼展厅
2019
《ARBUZ》，卡塞尔艺术协会
“美好图景豪华版”，汉堡堤坝之家摄影馆
2018
《经验之流 —— 密斯在柏林》，柏林罗莎・卢森堡广场艺术协会
“东望：来自东方的当代摄影”，汉堡 21 号画廊
伯塔尼恩艺术区一号工作室，柏林
2017
《擦亮双眼》，柏林 aff 画廊
墨西哥城外交部博物馆
《众人记忆之所》，卡塞尔弗里德里希美术馆
奖学金与奖项
2022
艺术基金基金会资助
德国联邦视觉艺术家协会 “文化重启” 项目扶持
2021
作品获沃尔夫冈・齐普尔博士基金会收藏，获评卡塞尔艺术奖
2018/2019
黑森州科学与艺术部创作资助
沃尔夫冈・齐普尔博士基金会资助
卡塞尔市文化局扶持
2014
奥托・布劳恩基金会奖学金

艺术家出版物
2023
《我们是千禧之星》，WIRKUSPRIES 组合，限量 250 册
2015
《无题（拆除前的创作）》，限量 7 册
《宇宙》，限量 25 册
2013
《八室小歌剧手稿》，限量 25 册
2011
《野牛与唇》，限量 20 册
2010
《六张宝丽来静物》，限量 15 册
2008
《闪光便士》，限量 8 册
专有名词注释
1.GDR：德意志民主共和国（东德）
2.Kunsthochschule Kassel：卡塞尔艺术学院
3.Archiv der Avantgarden：德累斯顿先锋档案馆
4.Fridericianum：弗里德里希美术馆（卡塞尔文献展核心展馆）
5.BBK：德国联邦职业视觉艺术家协会
6.Edition XX：艺术限量出版物，XX 为发行份数

born 03/09/1975 in Leipzig, GDR

1996–2000 – study of economics
2004–15 – study of fine arts at Kunsthochschule Kassel
Working since 2013 also in collaboration with Maja Wirkus as WIRKUSPRIES
exhibitions 2025
–WAMS (Soundperformance with Tobias Böhm) Archiv der Avantgarden, Dresden 2024
–We Are Millenium Stars, Archiv der Avantgarden, Dresden
–We Are Millenium Stars, MBOOKS, Weimar 2023
–Gallery Feiertag, Kassel 2022
–WAMS, Kunstverein am Rosa-Luxemburg-Platz, Berlin 2021
–Lost & Found, Südflügel, Kassel 2019
–ARBUZ, Kasseler Kunstverein, Kassel
–gute aussichten DELUXE, Haus der Photographie, Deichtorhallen, Hamburg 2018
–Flux of Experience – Mies in Berlin, Kunstverein am Rosa-Luxemburg-Platz, Berlin
–Ostlook Exhibition, Contemporary Photography from the East, Galerie 21, Hamburg
–Studio 1, Kunstquartier Bethanien, Berlin 2017
–Keep your Eyes Peeled, aff Galerie, Berlin
–Museo de la Cancilleria Mexico City
–As far as anyone could recall, Fridericianum, Kassel
scholarships 2022
–STIFTUNG KUNSTFONDS
–BBK- Bundesverband – Neustart Kultur 2021
–Ankauf durch die Dr. Wolfgang Zippel-Stiftung, Kasseler Kunstpreis

2018/19
–Hessisches Ministerium für Wissenschaft und Kunst
–Dr. Wolfgang Zippel Stiftung
–Kulturamt der Stadt Kassel 2014
–Otto-Braun-Stiftung
artist publications 2023
–We Are Millenium Stars, WIRKUSPRIES, Edition 250 2015
–untitled (Arbeiten bis zum Abbruch), Edition 7
–Uniwersum, Edition 25 2013
–Manuskript für Singspiel in acht Kammern, Edition 25 2011
–Bison and lips, Edition 20 2010
–6 gedecke polaroid, Edition 15
2008
twinklepenny, Edition 8

艺术家：杰罗·范·纽科普

Artist: JERO VAN NIEUWKOOP

杰罗·范·纽科普（Jero Van Nieuwkoop ）是卡塞尔的一名艺术家、策展人和大学讲师，他的工作聚焦于重新思考展览这一媒介及其在公共空间中的使用方式。Jero 热衷于探索艺术的另类表现形式和多样化表达，他对艺术表现形式的独特视角和对荒诞与创造力的敏锐把握，使他策划的展览屡获好评，并吸引了大批观众。

由于他在策展领域的开创性工作，Jero 受邀加入卡塞尔艺术协会（Kasseler Kunstverein）和施拉赫霍夫文化中心（Kulturzentrum Schlachthof）的多个项目。2018年，他与两位同学共同创立了一个专注于公众参与和城市发展的工作室——Raamwerk，该工作室如今已成为卡塞尔艺术与文化生态的重要部分。Jero 的作品充分展现了艺术和文化工作的积极影响力。

作为策展人，Jero 擅长将不同领域的人凝聚在一起，激发知识的交流与碰撞，从而突破传统界限，挑战观众的思维。他的策展风格将新锐艺术家与资深艺术家巧妙结合，同时融入自己的创意理念，创造出不同世代和艺术风格之间的对话。

Jero 和他的团队通过跨学科的视角，将卡塞尔艺术学院的艺术资源与社区项目相结合，强化了卡塞尔文化领域的网络体系，并推动了城市文化在转型中的创新能力。他在艺术、艺术教育和社会学领域的跨界思维，使他在复杂的文化项目中游刃有余。

除了策展工作外，Jero 还以顾问身份为卡塞尔的文化机构提供专业支持。他以其独到的分析能力和对文化体系的深刻理解，成为卡塞尔艺术界的重要意见领袖。

目前，Jero van Nieuwkoop 担任卡塞尔艺术协会主任、卡塞尔美术馆馆长、 Raamwerk 创始成员、Streetbolzer 的文化教育者、Schlachthof 文化中心董事会成员以及卡塞尔市文化咨询委员会成员。通过这些多元化的角色，他持续推动着卡塞尔及更广泛地区的当代艺术发展。

Jero van Nieuwkoop is an artist, curator and university lecturer based in Kassel. His practice revolves around rethinking the exhibition medium and its deployment within public space. Fascinated by alternative formats and diverse modes of artistic expression, he is celebrated for his distinctive perspective, sharp eye for absurdity and creative ingenuity—qualities that have earned his exhibitions widespread acclaim and large audiences.
His pioneering curatorial work has led to invitations to develop multiple projects for the Kasseler Kunstverein and Kulturzentrum Schlachthof. In 2018, together with two peers, he founded Raamwerk, a studio dedicated to public participation and urban development, which has since become a vital pillar of Kassel’s art and cultural ecosystem. His practice consistently demonstrates the transformative potential of art and cultural work.
As a curator, Jero excels at uniting practitioners from disparate disciplines to spark knowledge exchange, break conventional boundaries and challenge audience perspectives. His curatorial model juxtaposes emerging and established artists under original conceptual frameworks, generating cross-generational and cross-stylistic dialogue.
Through an interdisciplinary lens, Jero and his team integrate artistic resources from the School of Art and Design Kassel with community initiatives, consolidating Kassel’s cultural networks and driving innovative urban cultural transformation. His cross-cutting expertise across art, art education and sociology equips him to navigate complex cultural projects with agility.
Beyond curation, he works as a consultant for Kassel’s cultural institutions. His incisive analytical thinking and profound grasp of cultural systems have established him as a leading voice within Kassel’s contemporary art scene.
Currently, Jero van Nieuwkoop serves as Director of Kasseler Kunstverein, Head of Kassel Art Gallery, founding member of Raamwerk, cultural educator at Streetbolzer, board member of Kulturzentrum Schlachthof and member of the Cultural Advisory Council of the City of Kassel. Across these multifaceted roles, he continuously advances contemporary art in Kassel and the wider region.