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Martin Köttering, President

Martin Köttering, HFBK President, Professor of Education in Art

Martin Köttering (*1964 in Lingen / Ems) studied Cultural Sciences and Aesthetic Practice at the Universität Hildesheim, and Fine Art in Bath in the UK. He subsequently acted as assistant to the artistic director of documenta 9, Jan Hoet. In 1995, he took over as head of the Städtische Galerie in Nordhorn, and was the originator, artistic director and general manager of thekunstwegen open museum. In connection with these roles, he designed and implemented a large number of exhibitions, publications and projects for public spaces featuring well-known international artists such as Guillaume Bijl, Mark Dion, Olafur Eliasson, Luciano Fabro, Fischli / Weiss, Hamish Fulton, Dan Graham, Katharina Grosse, Beate Gütschow, Jenny Holzer, Ilya and Emilia Kabakov, Suchan Kinoshita, Michel Majerus, Tobias Rehberger and Andreas Slominski. He has also implemented artistic projects for the Ministerium für Wissenschaft und Kunst der niedersächsischen Landesregierung (the ministry for sciences and art of the regional government of Lower Saxony), such as the Koppelschleuse youth cultural guest house in Meppen (in collaboration with Franz Erhard Walther).

Martin Köttering has been president of the Hochschule für bildende Künste Hamburg since 2002.

He is a member of a number of juries, panels, supervisory councils and foundations, including the Hamburg Media School and the ACQUIN accreditation institute’s specialist committee on art. Prior to 2008, he sat on the supervisory board of the Kulturfabrik Kampnagel, an internationally-oriented institution. As artistic director, he - an international exhibition on strategies for communicating and presenting art initiatives in the HafenCity Hamburg. Prior to 2011, he was a member of the Niedersächsische Kunstkommission (the commission on art for Lower Saxony), culminating in a term in office as chairman, and of the board of trustees of the Sammlung Hamburger Kunstmuseen (the association of art museums in Hamburg).

Selected Publications:

  • Dan Graham, Two Way Mirror Pavilions, Nordhorn 1996
    mit Texten von Dan Graham, Martin Köttering und Roland Nachtigäller.
  • Störenfriede im öffentlichen Interesse, Wienand Verlag Köln, 1997
    mit Texten von: Martin Köttering, Eckhard Schneider, H.M. Schulz, Jan Hoet, Andreas Denk, Dieter Ronte, Anne Duden, Peter Waterhouse, Hugo Dittberner, Veit Loers, Friedrich Wolfram Heubach, Stefan Schmidt-Wulffen, U. Frohne / Ch. Katti, Roland Nachtigäller und Gert Selle. 288 Seiten.
  • Franz Erhard Walther, Orte der Entstehung – Orte der Wirkung, Ausstellungen 1962–2000, Nordhorn 2000. 398 Seiten. Planzeichnungen von Ausstellungsarchitektur und Werkpräsentationen dokumentieren mit Texten von Walther seine künstlerische Biographie.
  • Olav Christopher Jenssen, Von Zeit zu Zeit, Zeichnungen 1992–1994
    mit einem Gespräch zwischen Martin Köttering und O. Chr. Jenssen, Nordhorn 1995
  • Panamarenko, Autovision,
    mit einem Text von Arndt Wesemann, 1995
  • topping out: Rob Birza, Stephen Craig, Jessica Diamond, Friedhelm Falke, Katharina Grosse, Michel Majerus, Rupprecht Matthies, Peter Santino
    hrsg. mit R. Nachtigäller, 1997
  • Franz Ackermann, unerwartet, 1997
  • Hamish Fulton, Die Vechte entlang gehen, 1998
  • Thomas Rentmeister, Skulpturen
    mit einem Text von Renate Wiehager und Friedrich Meschede, 1998
  • Ernst Caramelle, Architekturbezogene Gestaltung des Konzert- und Theatersaals in Nordhorn, 1998
  • Jan Fabre, Engel und Krieger – Strategien und Taktiken,
    mit Texten von G. Royden Hunt, Stefan Hertmans, Martin Köttering, Andreas Sentker, 1999
  • Martin Assig, Honiggänsewiese, mit einem Text von Volker Wortmann, 2000
  • Guillaume Bijl, Museum für die Souvenirs der sechziger Jahre, 40 historische Objekte, 2001
  • Hausarbeiten – der Alltag daheim, Andreas Slominski, Andreas Exner, Sabine Gross, Jochen Flinzer, Peter Rösel, Patricia Waller, Sonja Alhäuser, Christian Jankowski, Peter Brüger, Andrea Ostermeyer. Hrsg. mit R. Nachtigäller, 2001

Selected Projects in Public Space

Cai Guo Quiang, Skylight, 1999, fünf Fiberglasdrachen, Gramsbergen, NL
Ernst Caramelle, ohne Titel, Wandmalerei im Konzert- und Theatersaal Nordhorn, 1998
Stephen Craig, zwei Ausstellungspavillons, Nordhorn, 1996–1999
Mark Dion, The Hunters Cabin and the Biological Field Station, Brünas Heide, 2000
Olafur Eliasson, Der drehende Park, Neugnadenfeld, 2000
Luciano Fabro, Tumulus, Spöllberg bei Uelsen, 1999
Peter Fischli / David Weiss, Ein Weg durch das Moor, Bathorn, 1999
Hamish Fulton, Die Vechte entlang gehen, 1998
Dan Graham, Parabolic Triangular Pavilion I, Nordhorn, 1995/96
Georg Herold, Liquid Relief / Light Relief, Nordhorn 1997
Jenny Holzer, Black Garden, Nordhorn, 1994–2000
Ilya Kabakov, Wortlos, Laar am Vechteufer, 1999
Marin Kasimir, No Peep Hole, Lage, 2000
Suchan Kinoshita, Vom Hören sagen, Emlichehim, 2000
Till Krause, Akribische Untersuchungen über eine Wegroute und ihre Landschaft, 2000
Tobias Rehberger, Caprimoon'99, Lage, 2000
Thomas Rentmeister, Ohne Titel, Nordhorn, 1998
Ann-Sofie Siden, Turf Cupola, Neugnadenfeld, 2000
Andreas Slominski, Die Hose des Einbeinigen trocknen, Lage, 2000
Franz Erhard Walther, Jugend- und Kulturgästehaus, Koppelschleuse Meppen, 2000

Ausstellungsansicht "Schule der Folgenlosigkeit. Übungen für ein anderes Leben" im Museum für Kunst und Gewerbe Hamburg; photo: Maximilian Schwarzmann

School of No Consequences

Everyone is talking about consequences: The consequences of climate change, the Corona pandemic or digitalization. Friedrich von Borries (professor of design theory), on the other hand, is dedicated to consequence-free design. In “School of No Consequences. Exercises for a New Life” at the Museum für Kunst und Gewerbe Hamburg, he links collection objects with a "self-learning room" set up especially for the exhibition in such a way that a new perspective on "sustainability" emerges and supposedly universally valid ideas of a "proper life" are questioned.

Annual Exhibition 2021 at the HFBK

Annual exhibition a bit different: From February 12- 14, 2021 students at the Hamburg University of Fine Arts, together with their professors, had developed a variety of presentations on different communication channels. The formats ranged from streamed live performances to video programs, radio broadcasts, a telephone hotline, online conferences, and a web store for editions. In addition, isolated interventions could be discovered in the outdoor space of the HFBK and in the city.

Public Information Day 2021

How do I become an art student? How does the application process work? Can I also study to become a teacher at the HFBK? These and other questions about studying art were answered by professors, students and staff at the HFBK during the Public Information Day on February 13, 2021. In addition, there will be an appointment specifically for English-speaking prospective students on February 23 at 2 pm.

Katja Pilipenko

Semestereröffnung und Hiscox-Preisverleihung 2020

On the evening of November 4, the HFBK celebrated the opening of the academic year 2020/21 as well as the awarding of the Hiscox Art Prize in a livestream - offline with enough distance and yet together online.

photo: Tim Albrecht

Art defies Corona: Graduate Show 2020

With a two-month delay, the Graduate Show took place this year on the 19 and 20 September. More than 140 students showed their artistic graduation projects, from painting to sound installation.

Exhibition Transparencies with works by Elena Crijnen, Annika Faescke, Svenja Frank, Francis Kussatz, Anne Meerpohl, Elisa Nessler, Julia Nordholz, Florentine Pahl, Cristina Rüesch, Janka Schubert, Wiebke Schwarzhans, Rosa Thiemer, Lea van Hall. Organized by Prof. Verena Issel and Fabian Hesse; photo: Screenshot

Teaching Art Online at the HFBK

How the university brings together its artistic interdisciplinary study structure with digital formats and their possibilities.

Alltagsrealität oder Klischee?; photo: Tim Albrecht

HFBK Graduate Survey

Studying art - and what comes next? The clichéd images stand their ground: Those who have studied art either become taxi drivers, work in a bar or marry rich. But only very few people could really live from art – especially in times of global crises. The HFBK Hamburg wanted to know more about this and commissioned the Faculty of Economics and Social Sciences at the University of Hamburg to conduct a broad-based survey of its graduates from the last 15 years.

Ausstellung Social Design, Museum für Kunst und Gewerbe Hamburg, Teilansicht; photo: MKG Hamburg

How political is Social Design?

Social Design, as its own claim is often formulated, wants to address social grievances and ideally change them. Therefore, it sees itself as critical of society – and at the same time optimizes the existing. So what is the political dimension of Social Design – is it a motor for change or does it contribute to stabilizing and normalizing existing injustices?