HFBK

Netzwerkangebot

Grundlagen: Budget, Rücklagen, Schulden verstehen und vermeiden

Finanzielle Intelligenz: Wie du heute die richtigen Geldentscheidungen triffst und warum langfristig denken mehr bringt als kurzfristige Gewinne.

Vermögensaufbau: Wie du mit kleinen Beträgen langfristig investieren kannst.

Krypto und „schnelles Geld“: Warum viele hier Geld verlieren und wie du dich vor dem Hype und den Risiken schützt.

Finanz-Mythen und Social Media: Was du nicht glauben solltest und wie du Fakten von Meinung trennst.

Finanzierungen: Wann sie sinnvoll sind und wann sie dich auf lange Sicht blockieren können.

Altersvorsorge: Warum es sich gerade in jungen Jahren lohnt, früh zu starten.

Michael Richers ist seit mehr als 20 Jahren als Vermögens- und Investmentberater in der Finanzbranche tätig. Er unterstützt seine Kunden individuell bei der Vermögensplanung, je nach Lebensphase und Themenfeldern. Darüber hinaus engagiert er sich stark ehrenamtlich, unter anderem als Gastdozent im Bereich Finanzielle Bildung an Schulen und Hochschulen.

Anmeldung bis 7.⁠ ⁠April 2026 an career.center@hfm.eu. Die ZOOM-Einwahldaten werden ein Tag vor dem Vortrag, am 08.04.26 per Mail verschickt.

Der Kurs richtet sich an Studierende aller künstlerischer Fachrichtungen.

Ein Angebot des Career Centers der Hochschule für Musik Karlsruhe.

Deutschsprachiges Angebot

Filmfestivals sind für viele Filmschaffende ein wichtiger Schritt in den professionellen Einstieg – gleichzeitig wirken Einreichungsprozesse, Auswahlkriterien und Festivalstrategien oft undurchsichtig. Welche Festivals sind die richtigen für welchen Film? Was passiert nach der Einreichung hinter den Kulissen? Und welche Fehler lassen sich vermeiden?

In diesem Vortrag gibt Maike Mia Höhne (Leiterin Kurzfilmfestival Hamburg) einen praxisnahen Überblick über die grundlegenden Abläufe von Filmeinreichungen bei Filmfestivals. Aus der Perspektive der Festivalleitung erläutert sie, wie Programme entstehen, nach welchen Kriterien Filme gesichtet und ausgewählt werden und welche Rolle Formate, Premierenstatus und strategische Platzierungen spielen.

Neben strukturellem Grundlagenwissen bietet die Veranstaltung wertvolle Einblicke in Entscheidungsprozesse sowie konkrete Orientierung für den eigenen beruflichen Weg im Festival- und Kinokontext. Im Anschluss besteht die Möglichkeit, Fragen zu stellen und individuelle Aspekte rund um Einreichungen, Festivalprofile und Karrierewege zu diskutieren.

Maike Mia Höhne, selbst Absolventin der HFBK, ist Filmkuratorin, Regisseurin und Professorin mit Sitz in Hamburg. Von 2007 bis 2019 leitete sie die Kurzfilmsektion Berlinale Shorts bei den Internationalen Filmfestspielen Berlin. Seit 2019 ist sie künstlerische Leiterin des Kurzfilm Festival Hamburg und lehrt als Professorin für Film & Motion Design an der HAW. Sie ist international als Jurorin und Kuratorin tätig und engagiert sich besonders für zeitgenössischen Kurzfilm und Nachwuchspositionen.

Anmeldung ab 1.⁠ ⁠April 2026 hier.
Dieser Vortrag richtet sich an Film-Studierende und Graduierte bis 5 Jahre nach dem Studium.

Available in German and English as required

How do you start a project proposal? How do you structure it convincingly—and how do you find a coherent conclusion? Getting started with a proposal can be challenging, especially for inexperienced actors. However, unclear requirements, unfinished ideas, or open questions do not have to be mutually exclusive if the process is approached in sensible, well-thought-out steps.

This introductory lecture highlights typical challenges of varying degrees of difficulty that can arise during the application process and presents strategies for dealing with them. Afterwards, there will be an opportunity to explore individual experiences and specific questions in a short discussion.

Peter Müller teaches and advises on application design and conceptual communication at art colleges and in funding programs for artists. At the HFBK, he was the artistic-scientific coordinator of the postgraduate program Aesthetics of the Virtual. As an artist, he also has extensive personal experience with funding from national and international institutions.

Registration opens April 1, 2026, here.

April 16 and 23, 2026, 10 a.m.–2 p.m.

English language offer

*Microcredential Diversity

Career paths are often multifaceted and unclear, and at times even unsettling and discouraging. Usually, it only becomes clear in hindsight why certain paths and decisions made sense. In particular, the professional journeys of artists can take many different directions. But what is it that truly matters?

Before we can know what actions or path to take in the outside world, we have to become aware of inner roadmaps: our experiences, strengths, values and desires.

In this workshop we systematically delve into the matter of career developing and questions that are essential for inner guidance, but often left unanswered because they are too abstract or overwhelming.

This workshop consists of

• a lecture by Lulu MacDonald, in which she shares candid lessons from her early career as a fine artist, challenges negative misconceptions about artist’s careers and networking, and reframes it as building supportive, collaborative relationships beyond self-serving and transactional. She weaves personal stories and insider insights from the art world to provide practical tools for creating an authentic professional network and empowering artists to take control of their career development.

• workshop sessions with Lima Sayed, designed to empower you to take ownership of your career development. Building on your experiences, skills, and competences, we will strengthen your self-awareness, we lay the ground work for exploring potential professional pathways. We will assess our current professional situation, identify our strengths and challenges, and gain deeper insight into our core values.

Lulu MacDonald completed her MA studies in 2017 at the HFBK Hamburg (class of Pia Stadtbäumer) with a BA from The Slade School of Fine Art. Since then she has been working as a freelance artist and has presented her work at Å+ Gallery Berlin, BWA Sic! Poland, Kunsthaus Hamburg, Museum für Kunst und Gewerbe Hamburg, Westfälischer Kunstverein Münster, MOM Art Space Hamburg, Kunstverein Gastgarten, Galerie Wassermühle Trittau and Centre d’Art Contemporain D’Anglet, among others. She is a guest lecturer at the Muthesius Art School Kiel and HAW Hamburg.

Dr. Lima Sayed serves as HFBK’s Counselor for Psychosocial Support and Diversity. A systemic coach with expertise in Diversity, Equity, and Inclusion, she brings many years of experience in university counseling contexts. In addition to her institutional role, she works as a freelance diversity trainer and career consultant, designing and facilitating workshops that empower students to navigate their professional paths with purpose and authenticity.

Registration from April 1, 2026 here.

April 17 and 24, 2026, 9–11 a.m.

Available in German and English

*Microcredential Professionalization

This two-part workshop offers a practical introduction to self-employment for artists and teaches the necessary legal, financial, and organizational steps on the path to professional self-employment in Germany.

Part 1 covers the basics: different legal forms (freelance or trade, individual or collective structure) are presented and their respective framework conditions explained. In addition, integration into the social security system (including KSK, health, pension, and unemployment insurance) is explained. Fundamental legal requirements such as residence, tax status, and work permits are also discussed. Furthermore, the question of whether self-employment is more suitable as a main or secondary source of income is explored.

Part 2 focuses on practical implementation: it explains how to officially register a business and provides an overview of the German tax system (income tax, sales tax, communication with the tax office, digital tools). The basics of accounting are taught, as are the requirements for correct invoicing, necessary documents, deadlines, and legal obligations. Finally, further advisory services in Hamburg and nationwide are presented.

Alicja Möltner is co-managing director and co-founder of Smart Germany (smartde.coop), a cooperative that supports freelancers in the cultural and creative industries. With her many years of experience in advising artists, she brings in-depth insights into the challenges and opportunities of entrepreneurial activities in the creative sector in Germany.

Registration opens on April 1, 2026 here.

This lecture is aimed at HFBK students in their final year and graduates up to 5 years after graduation.

April 20 and 27, 2026, 10 a.m.–3 p.m.

Available in German and English

From art to professional life: Many artists want to be able to make a living from their artistic work in the long term. But in addition to talent and creativity, this also requires strategic planning, self-organization, and a solid understanding of the professional framework conditions in the art field. This workshop helps participants understand their own artistic practice as a holistic endeavor—an interplay of creative work, realistic financial and time planning, and conscious positioning. “Getting Things Done” offers initial guidance for taking the first steps toward professional independence and strategic positioning as a freelancer.

Workshop content:

• What does a typical working day look like for artists?

• How does registration with the tax office work, and what needs to be considered?

• Joining the Artists’ Social Security Fund (KSK): requirements and procedure.

• Pricing: How do I calculate the appropriate price for my artistic work?

• Accounting and small business regulations: What does this mean in concrete terms?

• How do I determine my own fee?

There will also be time for questions and sharing experiences.

Please have any documents relevant to the workshop ready (portfolio, photos, short texts, illustrations, etc.)!

Birgit Effinger is an art historian and expert in career development in the arts and design. She supports artists, designers, and filmmakers with coaching and teaching at various European art colleges in proactively shaping their professional careers—using proven methods, individual counseling, and empowerment.

As a long-standing project manager (including Goldrausch Künstlerinnenprojekt, see up weißensee kunsthochschule berlin, Designfarm Berlin) and mentor, she has extensive experience in teaching professional standards in the field of art, always with a view to artistic integrity and individual development.

Registration opens on April 1, 2026 here.

This lecture is aimed at HFBK students in their final year and graduates up to 5 years after graduation.

Deutschsprachiges Angebot

Niemand kommt als Selbständiger so günstig in die Krankenkasse wie freie Künstler und Publizisten: Sie müssen sich nicht freiwillig gesetzlich und überteuert absichern, sondern bekommen die Hälfte der Beiträge als Zuschuss von der Künstlersozialkasse. Und die Rente wird von der KSK auch noch bezuschusst – insgesamt erhält man von der KSK so mehrere tausend Euro pro Jahr. Doch was sind die Voraussetzungen, wer wird überhaupt in die KSK aufgenommen?

Fred Janssen wird darüber berichten. Er ist seit über 35 Jahren Mitarbeiter der Künstlersozialkasse und war in den Bereichen Versichertenrecht, Künstlersozialabgabe, Betriebsprüfung tätig. Sein jetziges Aufgabenfeld liegt im Bereich des Wissensmanagements, Auskunft und Beratung/Öffentlichkeitsarbeit.

Diese Veranstaltung ist geöffnet für Studierende von zahlreichen Kunst- und Musikhochschulen in Deutschland, Österreich und der Schweiz.

Anmeldung ab 1.⁠ ⁠April 2026 hier.

May 4–11, 2026, 10 a.m.–2 p.m.

Available in German and English

Art in architecture is an exciting and challenging field of work for artists: it combines artistic freedom with specific architectural, social, and functional contexts. Art in architecture is part of the public space, where it enters into direct dialogue with architecture and people. But what structures, procedures, and rules govern art in architecture competitions? How do artists get started? And how do you develop a compelling competition entry from an idea?

This two-part workshop provides the necessary knowledge and practical tools for accessing art in architecture projects, step by step. Using real-life examples, we analyze strategies, concepts, and implementations. We clarify the formal framework conditions of different types of competitions, discuss underlying rules and regulations, as well as typical hurdles and decision-making criteria in competition procedures. In the second part, we walk through a competition as an example: from publication to application and concept development to the elaboration of an artistic design. Together, we will outline a competition entry in the context of a specific case study—from research to the convincing presentation of the idea. The aim of the workshop is to gain initial experience with art-in-architecture processes, sharpen strategic thinking, and enter the first competition with a clear understanding of the next steps.

Bianca Müllner lives and works in Hamburg. Her artistic focus is on painting, installation, and video. From 2018 to 2023, she was active in cultural politics as chair of the Professional Association of Visual Artists in Hamburg. She is a member of the Hamburg Art Commission and the new chair of Hinterconti e.V. She is the organizer of the Frappant Studio Scholarship. Since 2024, she has been working in competition management for art-in-architecture competitions.

Registration opens on April 1, 2026 here.

May 5 and 12, 2026, 10 a.m.–3 p.m.

Offer available in German and English.

You ask yourself:

• How can I talk authentically about my art without compromising myself?

• How can I successfully apply for scholarships, exhibitions, or projects?

• What happens after my studies, and who do I want to connect with?

In this two-day workshop, you will develop practical methods for communicating your artistic work precisely, naturally, and appropriately—both verbally and in writing. Speaking and writing also play a central role in the visual arts. But how do I write about my work—personally, yet professionally? What texts belong in a portfolio? And how do I avoid common clichés? What to expect in the workshop: Using your current projects and work, we will try out different forms of presentation and writing.

• Short presentations: How do I present my work precisely and concisely?

• Portfolio check: Individual feedback on your portfolio and insights into various jury and review situations.

• Text development: We will write text modules for applications, websites, and publications.

The aim is to refine the presentation of one’s own practice through self-reflection, information, and practice, and to develop text modules that can be used for applications, proposals, publications, and websites.

Please have the following ready for the workshop: current portfolio, photos, short texts if available.

Birgit Effinger is an art historian and expert in career development in the arts. She supports artists, designers, and filmmakers with coaching and teaching at various European art colleges in proactively shaping their professional careers—with proven methods, individual counseling, and empowerment.

As a long-standing project manager (including Goldrausch Künstlerinnenprojekt, see up weißensee kunsthochschule berlin, Designfarm Berlin) and mentor, she has extensive experience in teaching professional standards in the arts, always with a view to artistic integrity and individual development.

Registration opens on April 1, 2026 here.

This workshop is aimed at HFBK students in their final year and graduates up to 5 years after graduation.

Offered in German and English

An artist’s portfolio serves as a showcase for jurors, curators, and interested parties who want to gain an overview of the artist’s work. However, artists often feel uncertain about the structure, layout, and design of their portfolios. Professional feedback can help! Fabian Schöneich (founder and director of CCA Berlin) comments on the submitted portfolios in half-hour one-on-one meetings and works with individual participants to develop concepts for optimizing them.

Fabian Schöneich is the founder and director of CCA Berlin – Center for Contemporary Art. He was curator of Portikus in Frankfurt (2014–18) and worked as assistant curator at Kunsthalle Basel and Kunstinstituut Melly (formerly Witte de With Center for Contemporary Art) in Rotterdam.

Registration opens April 1, 2026, here.

Portfolios must be submitted to Swaantje Benson by May 3, 2026, at the latest.

This workshop is aimed at HFBK students and graduates up to 5 years after graduation.

19./26.⁠ ⁠Mai 2026, jeweils 10–13 Uhr

Deutschsprachiges Angebot

Ziel des Workshops ist es, die Teilnehmer*innen zu ermächtigen, eigenständig passende Förderprogramme zu identifizieren und erfolgreich zu beantragen.

Im Fokus des ersten Workshop-Teils stehen Ziele, Förderkriterien und Antragsverfahren. Wir verschaffen uns zunächst einen Überblick über ausgewählte Förderprogramme sowie die gängigen Finanzierungsarten und sprechen darüber, was notwendig ist, um einen Antrag erfolgreich aufzusetzen. Da mit der Förderzusage auch immer eine Dokumentationspflicht gegenüber dem Geldgeber einhergeht (Verwendungsnachweis mit Sachbericht und zahlenmäßigem Nachweis), wollen wir einüben, den Arbeitsaufwand vor, während und nach dem Projekt richtig einzuschätzen.

Im Fokus des zweiten Workshop-Teils stehen Ziele, Förderfähigkeit, Zielgruppe, Zeitplan, Schlüsselwörter und Fehlerquellen. Wir sprechen über das rechte Maß an Inhaltstiefe und Umfang bei der Anlage von Konzepten und der Entwicklung förderfähiger Projekte. Außerdem lernen wir, die Anforderungen des Förderers bereits bei der Konzeptentwicklung mitzudenken. Praxisnahe Hinweise und Tipps aus der langjährigen Beratungstätigkeit und Berufspraxis von Rosita Kuerbis sowie Förderbeispiele veranschaulichen die Kursinhalte.

Seit 2016 berät Rosita Kuerbis Unternehmen, Kulturschaffende und Institutionen in Förderangelegenheiten und begleitet geförderte Projekte auf Landes-, Bundes- und EU-Ebene. Ihre Berufspraxis (seit 2004) umfasst die Identifikation und Beantragung von Fördermitteln, die Betreuung und Abrechnung von Projektmitteln von Bund und Land, die Projektbegleitung auf internationaler Ebene, ebenso wie die Entwicklung von EU-Förderprogrammen.

Anmeldung ab 1.⁠ ⁠Mai 2026 hier.

English language offer

Many artists wish their work could “speak for itself” and often feel uneasy about writing or speaking about their practice. However, in today’s art world, there are countless moments when artists must put their thoughts into words—whether for grant applications, residencies, exhibitions, or public talks. These tasks can feel overwhelming: What to emphasize? How to find the right tone?

This is where the workshop led by HFBK graduate and frieze associate editor Chloe Stead comes in. Designed to demystify the process, the workshop equips participants with practical skills to approach writing with confidence and clarity. Through exploring various text types, such as artist statements, bios, and applications, participants will learn to critically assess what works well and what doesn’t. Beyond the external demands of writing, this workshop will highlight how writing can serve as a tool for deeper self-reflection, helping artists better understand their own practice. Writing, too, can be an act of generosity, offering essential context to audiences unfamiliar with contemporary art. By developing their own voice in writing, participants will gain control over how their work is presented and understood, ensuring that their vision reaches both specialist and non-specialist audiences alike.

On request, Chloe will allocate individual time slots following the successful completion of the workshop in which online feedback can be given on the written texts revised on the basis of the newly acquired knowledge.

Chloe Stead graduated from HFBK in 2014 and now works as a Berlin-based art critic and associate editor of frieze. Her writing has appeared in publications such as Artnet, frieze, Mousse and Spike Art Magazine. She also regularly contributes to artist monographs and has taken part in or moderated talks at Damien & the Love Guru, Brussels; Vienna Contemporary; Hamburger Bahnhof, Berlin; Kunstverein Hamburger Bahnhof, Hamburg; and Migros Museum, Zurich.

Registration from May 1, 2026 here.

Deutschsprachiges Angebot

Die Behörde für Kultur und Medien Hamburg unterstützt bildende Künstler*innen durch ein umfangreiches Förderportfolio: So können etwa Kataloge, Ausstellungen und Veranstaltungen von professionellen Künstler*innen sowie Jahresprogramme von nicht-kommerziellen Ausstellungsräumen gefördert werden. Außerdem werden jährlich Hamburger Arbeitsstipendien für bildende Kunst, projektbezogene Kunststipendien der ZEIT-Stiftung Ebelin und Gerd Bucerius sowie Atelier- und Auslandsstipendien vergeben. Auch der Ausbau von Ateliers wird unterstützt. Darüber hinaus können Projekte im Rahmen des Programms „Kunst im öffentlichen Raum“ bezuschusst werden. Nicht zuletzt lobt die Behörde den Edwin Scharff-Preis und den Lichtwark-Preis aus.

Im Fokus des Online-Vortrags stehen die Vorstellung der einzelnen Fördermöglichkeiten sowie Tipps für die Antragstellung.

Anna Gröger studierte an der AdBK Nürnberg, der HFBK Hamburg und an der Burg Giebichenstein und arbeitet als Referentin für Kunst im öffentlichen Raum an der Behörde für Kultur und Medien Hamburg.

Anmeldung ab 1.⁠ ⁠Mai 2026 hier.

Available in German and English

Want to exhibit in a space run by artists? Use vacant spaces for pop-up exhibitions? Request advertising space as a temporary exhibition area? Studying art is about creating, but it’s also about exhibiting—and exhibitions can be just as experimental as the art itself. But how do you get started? What do you need to consider? What options are available?

This course teaches the basics of exhibition management, including creative, technical, financial, and logistical aspects. It provides insights into PR and public relations and introduces core topics in curation.

After completing this course, participants will have a basic knowledge of exhibition management. They will be able to independently identify creative and unconventional exhibition venues and use them for their art projects. They will have an understanding of the technical, financial, and logistical challenges involved in planning and realizing exhibitions and will be able to overcome these challenges in a targeted manner. In addition, they will gain initial insights into the fields of PR and art education in order to make their projects accessible to a wide audience. Basic knowledge of curating will enable them to develop and implement experimental exhibition concepts.

Dr. Kerstin Flasche was curator at the Kunsthaus Dresden – Municipal Gallery for Contemporary Art and at the Stephanie Kelly Gallery, a non-profit exhibition space for young artists in Dresden. Her doctoral thesis “Minerals that Matter. Crystals and Minerals in the Art of the 21st Century” (title translated, Edition Metzel Munich, 2025) was completed in the summer of 2021 at the Dresden University of the Arts. She specializes in contemporary art, transdisciplinary methods, queer and posthuman theories, and curatorial practice.

Registration opens May 1, 2026, here.

Netzwerkangebot

Wer oder was ist die VG Bild-Kunst? Welche Aufgaben hat sie? Wer kann Mitglied werden und kostet die Mitgliedschaft etwas? Warum sollte ich Mitglied werden und wie kann ich von der VG Bild-Kunst profitiere? Diese und andere Fragen rund um die VG Bild-Kunst beantwortet Ihnen der Vortrag. Dozentin ist Sandra Freischem, Inhouse-Juristin der VG Bild-Kunst. Sie hält regelmäßig Seminare und Workshops zur VG Bild-Kunst, Urheberrecht und angrenzenden Themen.

Sandra Freischem ist Rechtsanwältin und seit 2014 als Unternehmensjuristin für die VG Bild-Kunst in Bonn tätig. Daneben hält sie regelmäßig Vorträge zu den Themen Urheberrecht, Urhebervertragsrecht, Fotografie und Persönlichkeitsrecht sowie VG Bild-Kunst.

Anmeldung ab 1.⁠ ⁠April 2026 über careerservice@hfbk-dresden.de bei Denise Ackermann

ZOOM-Einwahldaten nach Anmeldung per Mail

Ein Angebot des Career Service der HfBK Dresden.

12./26.⁠ ⁠Juni 2026, 14–18 Uhr

Deutschsprachiges Angebot

Viele Kunstwerke und künstlerische Praktiken lassen sich nicht ausschließlich über visuelle Wahrnehmung erfassen, sie benötigen Vermittlung, weitere Informationen, Kontext. Sie benötigen: Text. Dieser sollte Betrachter*innen Zugänge zur Kunst ermöglichen, ihnen aber keinesfalls vorgeben, was sie angesichts eines Werks zu denken oder zu empfinden haben. Ebenso wenig sollte Text, der Kunstwerke flankiert (an der Wand, im Portfolio, in der Pressemitteilung), die Worthülsen eines vermeintlichen Fachjargons reproduzieren – komplexe Inhalte können nach komplexer Sprache verlangen, oft genug sind schwer verständliche Texte aber einfach nur Ausdruck von Bequemlichkeit und unpräzisem Denken.

Künstler*innen tragen Verantwortung für den Text, der ihre Arbeiten begleitet – wenn sie mit denjenigen kommunizieren, die ihn am Ende verschriftlichen, wenn sie ihn selbst formulieren. Im Workshop machen wir uns auf die Suche nach der Sprache, die dem jeweiligen Werk und der jeweiligen Praxis entspricht. Wir präsentieren die eigene Arbeit und gehen in den Austausch miteinander, um die eigene Perspektive zu reflektieren und voneinander zu lernen. Wir analysieren, was einen besonders geglückten „Text zur Kunst“ ausmacht. Wir behalten beim Schreiben und Sprechen verschiedene Zielgruppen im Blick.

Seit Dagrun Hintze Kunstvermittlerin bei der documenta11 war, beschäftigt sie die Frage, welche Sprache einem Kunstwerk angemessen ist. In diesem Zusammenhang experimentiert sie mit verschiedenen Textformaten: Neben Katalogbeiträgen kollaboriert sie auch literarisch mit Künstler*innen – eine Sammlung so entstandener Prosatexte erschien 2019 unter dem Titel „Wer was in welcher Nacht träumte – Erzählungen zu Kunst, Design und Architektur“ im Textem Verlag. Hintze veröffentlicht außerdem Lyrik, Prosa und Theaterstücke und lehrte Interdisziplinäre künstlerische Praxis an der UDK Berlin sowie Creative Writing an der HAW Hamburg.

Anmeldung ab 1.⁠ ⁠Mai 2026 hier.

Available in German and English

There are over 12,000 film festivals worldwide – from major A-list festivals and specialized genre events to platforms with a thematic or regional focus. But which ones are really right for my film? And how can I keep track of deadlines, premiere status, fees, and strategic priorities?

This workshop introduces Screentour – an app that helps filmmakers make informed choices from the multitude of international festivals. Based on a short film description, Screentour suggests suitable festival sections and then helps to translate the selection into a structured and realistic submission plan, while also keeping an eye on premiere requirements.

Together, we will take a practical look at how the tool works, discuss selection criteria, and talk about festival strategies:

• What role do genre, length, and production context play?

• How important is premiere status?

• What are my goals for my festival run—visibility, distribution, networking, awards?

• How can submissions be planned in a way that makes sense in terms of time and money?

Screentour was developed in cooperation with the HFBK Hamburg and film scholar Skadi Loist (jury member of the Berlinale TEDDY Award) and combines scientific expertise with practical application for the film industry.

If you wish, you can bring along a current film project: a short description or a link to the film’s website is sufficient as a basis. Using selected examples, we will try out the tool directly and develop initial individual festival strategies.

Chris Xu is a film producer and the founder and developer of Screentour, the world’s first data-based tool for strategic festival planning. His co-produced film GUOCHANG (director: Nana Xu) premiered at the Berlinale Forum Special. Based on his practical experience from numerous festival evaluations and his intensive study of international festival strategies, he developed Screentour with the aim of providing filmmakers with sound, transparent, and efficient guidance in the global festival market.

Registration opens May 1, 2026, here. This workshop is aimed at film students at the HFBK and graduates up to five years after graduation.

Deutschsprachiges Angebot

Niemand kommt als Selbständiger so günstig in die Krankenkasse wie freie Künstler und Publizisten: Sie müssen sich nicht freiwillig gesetzlich und überteuert absichern, sondern bekommen die Hälfte der Beiträge als Zuschuss von der Künstlersozialkasse. Und die Rente wird von der KSK auch noch bezuschusst – insgesamt erhält man von der KSK so mehrere tausend Euro pro Jahr. Doch was sind die Voraussetzungen, wer wird überhaupt in die KSK aufgenommen?

Fred Janssen wird darüber berichten. Er ist seit über 35 Jahren Mitarbeiter der Künstlersozialkasse und war in den Bereichen Versichertenrecht, Künstlersozialabgabe, Betriebsprüfung tätig. Sein jetziges Aufgabenfeld liegt im Bereich des Wissensmanagements, Auskunft und Beratung/Öffentlichkeitsarbeit.

Diese Veranstaltung ist geöffnet für Studierende von zahlreichen Kunst- und Musikhochschulen in Deutschland, Österreich und der Schweiz.

Anmeldung ab 1.⁠ ⁠Mai 2026 hier.

English language offer

*Microcredential Internationales

This workshop addresses the evolving relationship between artists and curators at a moment when authorship, power, and responsibility in exhibition-making are increasingly shared, contested, and renegotiated. Drawing on Yuko Hasegawa’s concept of the egofugal and Carolyn Christov Bakargiev’s notion of the curator as draftsperson, the workshop proposes a model of the artist–curator liaison as a multi voiced composition and an ongoing draft, rather than a fixed hierarchy or a finished script.

Egofugal combines the idea of a centered ego—each participant arriving with desires, convictions, and a strong standpoint—with a movement of fugere: to move away and forward. It resonates with the musical fugue, where a theme appears in one voice, is taken up and transformed by others, and progresses through repetition, variation, and counterpoint. In this sense, the artist–curator relationship becomes an egofugal choreography: two distinct centers that repeatedly decenter themselves to respond to each other and to the evolving exhibition. Christov Bakargiev’s metaphor of the curator as draftsperson emphasizes process, tentativeness, and revision. The curator generates sketches—conceptual, spatial, discursive—within and around the artist’s work, knowing that these drafts will be reworked, contested, or erased in dialogue.

The curator generates conceptual, spatial and discursive sketches within and around the artist’s work. Yet these drafts are to be reworked, contested or erased in dialogue with the artist. This view resists curatorial over authorship: the exhibition is not a final drawing imposed on the artist but a palimpsest of drafts, traces, and negotiations between artist, curator, institution, and public.

Taken together, egofugal movement and curatorial drafting offer a productive framework for early career artists to understand and navigate their liaisons with curators: not as one sided judgment or service, but as a dynamic, co authored process of composing, revising, and sharing meaning.

The workshop follows a structured yet dialogical format, putting into practice the collaborative model it reflects upon. It begins with an introduction to the curatorial role in exhibition-making, considering its historical development and its shifting understandings of authorship and responsibility. On this basis, we will explore various curatorial approaches and examine how an artwork changes as it moves from the studio into the exhibition space, where context, mediation, and spatial arrangement actively shape its meaning. Participants will take part in focused exercises that address the presentation of their own work and the development of exhibition ideas. They will learn to articulate their positions with clarity, intellectual depth and critical awareness.

Throughout the workshop, a collaborative methodology is emphasized: curators are approached as partners in an ongoing process rather than as external authorities. Participants are encouraged to remain attentive to their central concerns while cultivating critical thinking, mutual trust, openness, and flexibility.

Nirith Nelson is a contemporary art and design curator and art educator. She teaches Curatorial Studies at the Bezalel Academy of Arts and Design and is Curator of Contemporary Art at the Israel Museum in Jerusalem.

Registration from May 1, 2026 here.

This workshop is aimed at HFBK students in their final year and graduates up to 5 years after graduation.