Andrea Sick is Professor of Media, and Cultural History and Theory, and she is speaker of the Digital Media Program together with Dennis Paul. She heads the Binational Artistic-PhD-Program at HfK Bremen, in cooperation with international partners.
Sick studied German language and literature, politics, cultural sciences, and history of art in Heidelberg, Bremen, and Hamburg. In 2001 she obtained a doctoral degree at Hamburg University with a dissertation on the interactions between knowledge and cartography. Andrea Sick is the artistic coordinator and curator (together with Dr. Claudia Reiche) of 'Thealit Frauen.Kultur.Labor' (1993), a cultural laboratory. Thealit designs and devises programmes to promote interaction between artistic and theoretical reflection, supporting protagonists in different fields as they explore and critique, test and modify their praxis. Difference, and in particular gender difference, is the central issue addressed in the work of thealit. One of Sick's research projects is The Dynamic Archive since 2018. Together with Ralf Baecker and Dennis Paul she curates the Salon Digital at University of the Arts Bremen (https://salon-digital.com/) and she is editor of the Manifestos Publication (Issus 1-3, digital and printed versions: http://manifestos.de/)
Research interests: performative and collaborative knowledge (production), the transitions between art, biology, and informationtechnology discourses, scores in the artistic and performative context (thedynamicarchive.net), mediatheory, technophilosophy, practices of archiving, queerstudies.
Annette Geiger is Professor of Theory and History of Design. She studied art, cultural studies and communication in Berlin, Grenoble and Paris. She completed her doctorate on "Urbild und fotografischer Blick" at the Institute of Art History (IKG) of the University of Stuttgart. She then taught at universities in Paris, Berlin and Darmstadt. Today she researches the cultures of the aesthetic between art, design and everyday life (signs/things, images/media, spaces/places, bodies/clothes). The question of the scope of design, the ambivalent and diverse in design, is just as central as the interest in discourse and criticism.
Asli Serbest works in collaborations across spatial, image, sound, and text practices. Her processed-based projects evolve into installations, objects, temporary spaces, videos, sound, and texts. They play and replay architecture histories, events, and movements, with the aim to rethink the production of space and implied power relations.
Following their feminist constitution these projects propose themselves less as fixed spaces and objects than as physical or digital versions that share an interest in variation and distortion of form and scale.
Asli Serbest has been a professor teaching in the architecture and art fields at Stuttgart State Academy of Art and Rhode Island School of Design, among others. After her studies in Istanbul, she completed her doctorate on speculative spatial strategies and a critique of Modernism.
She publishes and exhibits internationally, among others at Biennale di Venezia, Württembergischer Kunstverein Stuttgart, Riverrun Istanbul, Pinakothek der Moderne München, Storefront for Art and Architecture New York, Pera Museum Istanbul, HKW Berlin, Vancouver Art Gallery, Künstlerhaus Stuttgart, New Museum New York; in e-flux journal, Volume Magazine, Perspecta, The Gradient-Walker Art Center, Istanbul Art News, AArchitecture, Deutschlandfunk, etc.
Asli Serbest is the co-editor of Junk Jet, an independent magazine on art, architecture, and media.
In 2019, she co-curated the 7th International Sinop Biennial 2019 under the title of “A Politics of Location” —an exhibition based on situated practices and contextual processes in the Anatolian Black Sea region.
Mona Schieren studied art history and philosophy at the University of Hamburg and the Villa Arson, École nationale supérieure d'art, Nice. Her dissertation “Transcultural Translation in the Work of Agnes Martin. On the Construction of Asianist Aesthetics in American Art after 1945” (2016) was recently awarded the International Publication Award of the College Art Association and is now also available in English. Mona Schieren has been Professor of Transcultural Art Studies at the HfK since 2021, where she is a research associate for the European research project Gama. Gateway to Archives of Media Art (until 2009), and has also taught at the Zurich University of the Arts, the Università IUAV Venice, Guangxi Arts Institute, Nanning and the University of Hamburg, among others. In 2011 she received the Terra Foundation Travel Grant for the Getty Research Institute Los Angeles. Since 2019 she is co-editor of FKW Zeitschrift für Geschlechterforschung und visuelle Kultur.
She is a member of the DFG research network Entangled Histories of Art and Migration: Forms, Visibilities, Agents und im SNF-Forschungsprojekt Materialisierte Erinnerungen (in) der Landschaft der Zürcher Hochschule der Künste.
Dennis P PAUL (Bremen, 1974*) works as an interaction designer and new media artist, lives in Bremen and holds a professorship for Interaktion und Raum in the Digitale Medien Program at Hochschule für Künste Bremen. He was the co-founder of the Berlin-based studio for spatial, media-related design The Product.
In his work he is concerned with the interaction between humans and technology and the relationship between the conceptual, the virtual, the immaterial, and the physical. His works frequently take the form of installations in public spaces, physical interfaces, and generative systems. With great interest he is researching the communicative, playful, narrative, and critical qualities of new and digital media. He strongly believes that technology must be something warm, inclusive and emotional. His work has been exhibited internationally and has received various renown awards.
Ralf Baecker (*1977 Düsseldorf, Germany) is an artist working at the interface of art, science, and technology. Through installations, autonomous machines, and performances, he explores the underlying mechanisms of new media and technology. His objects perform physical realizations of thought experiments that act as subjective epistemological objects to pose fundamental questions about the digital, technology and complex systems and their entanglements with the socio-political sphere. His projects seek to provoke new imaginaries of the machinic, the artificial and the real. A radical form of engineering that bridges traditionally discreet machine thinking with alternative technological perspectives and a new material understanding that makes use of self-organizing principles.
Baecker has been awarded multiple prizes and grants for his artistic work, including the grand prize of the Japan Media Art Festival in 2017, an honorary mention at the Prix Ars Electronica in 2012, 2014 and 2023, the second prize at the VIDA 14.0 Art & Artificial Life Award in Madrid, a working grant of the Stiftung Kunstfonds Bonn, the Stiftung Niedersachsen work stipend for Media Art 2010 and the stipend of the Graduate School for the Arts from the University of the Arts in Berlin and the Einstein Foundation.
His work has been presented in international festivals and exhibitions, such as the International Triennial of New Media Art 2014 in Beijing, Künstlerhaus Wien, ZKM | Center for Art and New Media in Karlsruhe, The International Digital Art Biennial Montreal, Martin-Gropius-Bau in Berlin, Haus der Kulturen der Welt Berlin, MOCA Taipei, New Tretjakow Galerie Moscow, Laboral Centro de Arte in Gijón, Centre de Cultura Contemporània de Barcelona (CCCB), NTT InterCommunication Center in Tokyo, Kasseler Kunstverein and Malmö Konsthall.
Since 2016 he has been teaching at the University of the Arts Bremen as Professor for Experimental Design of New Technologies in the Digital Media program.
Studied art history, classical archaeology and philosophy in Heidelberg, Munich and New York. Doctorate at the Staatliche Hochschule für Gestaltung Karlsruhe (HfG) with the dissertation “Imi Knoebel. Die Tradition des gegenstandslosen Bildes” and habilitation at the University Fridericiana Karlsruhe on the topic ‘Ordnungen der Bilder’. From 2000 to 2009 lecturer and scientific coordinator of the graduate college “Bild.Körper.Medium. An Anthropological Perspective” at the HfG Karlsruhe and until 2015 lecturer at the Karlsruhe Institute for Technology (KIT). Guest and substitute professorships at the Universities of Heidelberg and Jena, at the Heidelberg Center for Transcultural Studies, at the Estonian University Tallinn and at the Kunstakademie Karlsruhe. Fellowships at the “International College for Cultural Technology Research and Media Philosophy” at the Bauhaus University Weimar (IKKM), at the “International College Morphomata” at the University of Cologne and at the “International Forum for Cultural Studies” in Vienna (IFK). Since WS 2016/17 Professor of Art Studies at the HfK Bremen.
Main areas of research: Modern and contemporary art, transcultural history of images and their media, image and art theory, theory and history of new media, global art studies, history and theory of portraiture and landscape.
Füsun Türetken is Professor at the Department of Art and Design at HFK Bremen and Professor at Karlsruhe University of Arts and Design.
Dr. Füsun Türetken is Professor at the Department of Art and Design at HFK Bremen and Professor at Karlsruhe University of Arts and Design. She received her doctorate from Goldsmiths University London. Her doctoral thesis was entitled “On the Most Powerful Catalyst on the Planet” and looks at conflict and capital through matter, specifically metal. Her academic background is in architecture, urban studies and visual culture with studies in Germany, the United States and England. In 2008 she was director of the German Pavilion at the Venice Architecture Biennale together with raumtaktik. For four years she was a research assistant, editor and curator at 'Shrinking Cities' in Berlin. Füsun has been teaching at various universities and academies in Germany and abroad since 2009 and pursues a transdisciplinary teaching approach.
Some publications and exhibitions: “Where they hide the Clouds” in Acid Clouds, Niels Schrader, Roel Backert (eds.), NAI 010 Publishers, 2024; “Gold. Alchemic Desire” in Swiss Psychotropic Gold (Christoph Merian Verlag, 2020); ‘The Amalgamated Toxicity of Ground Zero’ in Forensis (Sternberg, 2014); and ‘Neodymium Superconductive Lifelines for Metallic Monsters’ in the journal UMBAU (2022). With students 'Open for Maintenance' German Pavilion Venice Architecture Biennale
Fahim Amir is an author, curator, philosopher and artist. He studied art and philosophy and is currently professor at HfK Bremen. he has held visiting professorships at the Academy of Fine Arts Vienna, the University of Campinas São Paulo and the University of Art and Industrial Design Linz. His work operates at the intersection of natural culture and colonial historicity and urbanism. Amir was curator of the Live Art Festival 2013 “Zoo 3000: Occupy Species” (Kampnagel, Hamburg) and of “Salon Klimbim: von vegetarischen Tigern und utopischen Unterhandlungen” (Secession Vienna). He is co-editor of “Transcultural Modernisms” (Sternberg Press, 2013) and most recently wrote the afterword to the German edition of Donna Haraway's “The Companion Species Manifesto” (“Das Manifest für Gefährten. Wenn Spezies sich begegnen”, Merve, 2016). He will soon be publishing “Schwein und Zeit: Tiere, Politik und Verbrechen” (Nautilus, 2018).
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