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Mentoring Program

Upcoming dates

Application deadline for HFBK graduates of the year 2021 or earlier:

13 April 2022

Contact

No sooner have you mastered your degree and turned your back on art school than you are confronted with a multitude of questions and hurdles: How do I find a studio? How do I get into the KSK? How do I get in touch with exhibition makers? What prices are appropriate for my art? Many people are also left to their own devices when it comes to technical and content-related questions.

This is where the mentoring programme of the HFBK Hamburg offers support:

The mentoring programme is aimed at exmatriculated HFBK graduates who graduated last year or earlier and are now at the beginning of their work as freelance artists.

Within the framework of a six-month tandem, they meet selected mentors - also HFBK alumni/alumnae - who are already successfully working in the art field and who use their experience and knowledge specifically to support the mentees. Together they work to expand the mentees' artistic positions as well as their professional field-related knowledge and skills, reflect on career planning strategies and expand existing networks with new contacts. On the other hand, the mentors deepen their advisory skills and expand their contacts to the current art, culture and science scene.

We are offering 4 mentoring places in 2022. If you are interested in the mentoring programme, please apply by 13 April 2022. Please request the application from Swaantje Benson.

Mentor*innen 2022:

Gerrit Frohne-Brinkmann (Bildhauerei, MA, 2015)
Gerrit Frohne-Brinkmann (*1990) studied at the University of Fine Arts, Hamburg. In his works, which encompass a variety of media such as installation, sculpture, photography and performance, he seeks the intersection between early cultural forms and current popular performance formats in the field of entertainment. He is particularly interested in the fringes of the natural and cultural sciences. From a fictionalised historical distance, he describes the present and our relationship to it and allows seemingly self-evident certainties to become fragile.

Language: German, English
www.frohne-brinkmann.com

(Sculpture, BA 2015 HFBK/MA 2018 Academy of Fine Arts Vienna).

Ting-Jung Chen (b. 1985 in Taipei, Taiwan) lives and works in Vienna and Taipei.

Drawing on historiography and cultural and political semiotics, her artistic practice focuses on collective memories, appropriation and processes of empowerment. By reproducing artefacts of the culture industry, the representation of ideology and its relation to people, the artist explores transformations of identity and draws the intersecting cultural mix into a spatial atlas.

Language: German, English, Mandarin
https://www.info-tingjungchen.com/

FORT - Alberta Niemann (Sculpture, Diplom, 2013)

Alberta Niemann (*1982) is part of the artist duo FORT, founded in 2008 with Jenny Kropp. FORT develops site-specific works in the fields of installation, video and performance. They work with everyday objects that are reconstructed, rearranged or alienated. Many of the created sceneries are reminiscent of abandoned film sets, of which only set pieces remain. In their installations, they play with the perception of the seemingly familiar, create moments of irritation, and thus allow ruptures in our everyday world to become visible. They trace longings and fears that are conveyed through various objects, their composition as well as staging, thus creating an atmosphere that oscillates between eerie and humorous. They frequently negotiate the relationship between presence and absence, whereby the hidden always plays a central role. (Text excerpt: Dr. Nadia Ismail)

Languages: German, English
https://www.sieshoeke.com/de/artists/fort

Lawrence Power (Painting/drawing, Diplom, 2011)

Lawrence Power (*1982) develops his painting from views of urban architecture or geometric everyday objects, such as tables, electricity boxes or lamps in his own studio. In a strongly reduced pictorial language, pictorial space is not created illusionistically, but rather in the juxtaposition of receding, partially transparent backgrounds and raised impasto color surfaces, lines pressed out of the tube and glued-on canvas remnants. In a collage-like manner, he incorporates various compositional elements into his painting as a sculptural surface extension, giving it a material-like directness. By means of subtle interventions and modular extensions, Powers' paintings in his spatial installations duplicate and comment on the surfaces of the elements that can be found and declare the space itself to be the canvas, creating a constant interplay with the two-dimensionality of the painting and the three-dimensionality of the spaces that refer to it.

Languages: German, English, French
www.lawrencepower.com

Katrin Connan (Stage Design Diploma 2008)

Katrin Connan (*1979) studied Fine Arts in Groningen (NL) and Fine Arts / Stage Design at the HFBK Hamburg.

Since 2008 she has been working as a stage designer at opera houses and playhouses such as Theater an der Wien, Opernhaus Zürich, Nationaale Oper en ballet Amsterdam, Opernhaus Graz, Bregenzer Festspiele, Staatsoper Hamburg, Semperoper Dresden and Bayerische Staatsoper, the Staatstheater Stuttgart, Theater Bremen, Thalia Theater Hamburg, and Schauspiel Leipzig, among others, with directors Johannes Erath, Hans Neuenfels and Anna-Sophie Mahler.

Her stage spaces are composed of a formally clear selection of elements. They unfold into other places by shifting only a few things and changing the circumstances. They are inventions in which the known and the unknown mix, different dimensions replace each other. Painted images and built parts combine with technology and light fixtures, blend harmoniously into the theater space, and yet cause it to be redefined beyond its apparent boundaries through its transformation as the piece unfolds.

http://katrinconnan.com/

Testimonials of the programme 2021:

  • Elisa Goldammer: „In einer Phase nach dem Studium, in der ich mich langsam von der Hochschule löse und die schneller vorbei geht als gedacht, ist das Mentoring-Programm wie ein Abschiedsgeschenk, das mir das Gefühl vermittelt, dass ich zwar jetzt selbst klarkommen muss, ich aber nicht allein vor dieser Herausforderung stehe. (…) Ich befinde mich nach wie vor in einer Findungsphase, aber jetzt mit dem guten Gefühl, dass es sich lohnt, sich mit anderen Kunstschaffenden zu verbinden und in einen guten Austausch zu treten.“

  • Kyle Egret: „Ich hatte die Hoffnung, dass das Mentoring mich auf meinem Weg nach vorne bringt und stärkt, und dabei wurden meine Erwartungen in allen Bereichen erfüllt und sogar übertroffen. Ich kann nur jedem und jeder empfehlen, die Chance zu nutzen, an so einem Mentoring teilzunehmen.“

  • Elina Saalfeld: „Generell habe ich das Gefühl, viel aus der Erfahrung mitgenommen zu haben; vor allem das Gefühl, mich getraut zu haben vieles zu denken, zu diskutieren und auszuprobieren.“

  • Thea Amalie Käszner: „Meine Mentorin hat mir Vertrauen in meine künstlerische Praxis und Ambitionen gegeben.“

  • Elena Greta Falcini: „Die zu Beginn des Mentorings erstellte Liste mit Fragen und Unklarheiten, die ich gerne mit meiner Mentorin besprechen wollte, konnten wir im Zeitraum des Mentorings komplett durcharbeiten. […] Abschließend kann ich sagen, dass ich wirklich dankbar bin am Mentoring-Programm teilgenommen zu haben und ich vom empowernden und produktiven Austausch mit meiner Mentorin sehr profitiert habe.“

  • Korab Visoka: „Der Austausch mit meinem Mentor hat mir neuen Anreiz und Input gegeben, wie ich Projekte effizienter angehen und verwirklichen kann. Gemeinsam haben wir meine Ideen, Alben und mein Portfolio analysiert und dadurch neue Akzente ermöglicht.“


Testimonials of the programme 2020:

  • Linda Lebeck: "Die vordergründigste Erfahrung im Mentoring-Programm war für mich die Konfrontation mit den eigenen Überzeugungen und Unsicherheiten."

  • Jil Lahr: "Die Hilfestellung des Mentors jederzeit in Anspruch nehmen zu können, sei es für Arbeitsgespräche, Portfoliosichtung oder Projektbesprechungen, war für mich eine große Hilfe nach dem Studium, auch um die anfänglichen Zweifel angesichts der künstlerischen Selbstständigkeit zu überwinden."

  • Amanda Trygg: "We talked about different artists that we liked, about our process in the studio while making art, periods of self doubt and how to work through them, we talked about the art industry. (…) Talking with Stefan also changed the way I work. I need bigger reasons or motivations to make a painting, I have higher demands of it. I sketch more and read more before I start working. (…) I also visited him in Bremen at an opening for a group show he was in at Bremen Kunsthalle. There was a dinner organized by the Kunsthalle for all the participants and other people from the art world. This was a really nice experience to be a part of. Then we drove to Hamburg and visited one of his friend’s exhibition. (…) I think this experience gave me more confidence as an artist and I see more clearly what I want with my art, my identity as an artist."

  • Sarah Hablützel: "Ich bin sehr dankbar, dass ich Teil des Programms sein durfte, für mich kam dieses zum perfekten Zeitpunkt - es hat mich nach dem Studium in der ersten Phase der Verunsicherung aufgegriffen und hindurch getragen und mir am Beispiel der vielen tollen Mentor*Innen gezeigt, dass es Wege gibt und dass man diese gehen kann, dass es auch Widerstände gibt und diese auch dazu gehören. Das Tandem mit Annika hat mich also auf mentaler und praktischer Ebene gestärkt."

  • Clara Palmberger-Süße: "Ich beende das Programm mit der Annahme, einen längerfristigen Kontakt zu haben für professionelle Fragen und Probleme."

Mentoring-Tandems 2021:

Katja Aufleger - Elena Greta Falcini
Philip Gaißer - Korab Visoka
Anna Grath - Tim Ehrich
Annika Kahrs - Thea Käszner
Alberta Niemann - Jano Möckel
Lawrence Power – Kyle Egret
Sung Tieu – Elina Saalfeld
Frieda Torranzo Jaeger - Marvin Almaraz
Stefan Vogel - Elisa Goldammer

Mentoring-Tandems 2020:

Katja Aufleger – Clara Palmberger-Süße

Anna Grath – Jil Lahr

Philip Gaißer – Linda Lebeck

Annika Kahrs – Sarah Hablützel

Stefan Vogel – Amanda Trygg

Amna Elhassan, Tea Lady, oil on canvas, 100 x 100 cm

Amna Elhassan, Tea Lady, oil on canvas, 100 x 100 cm

Art and war

"Every artist is a human being". This statement by Martin Kippenberger, which is as true as it is existentialist (in an ironic rephrasing of the well-known Beuys quote), gets to the heart of the matter in many ways. On the one hand, it reminds us not to look away, to be (artistically) active and to raise our voices. At the same time, it is an exhortation to help those who are in need. And that is a lot of people at the moment, among them many artists. That is why it is important for art institutions to discuss not only art, but also politics.

Merlin Reichert, Die Alltäglichkeit des Untergangs, Installation in der Galerie der HFBK; photo: Tim Albrecht

Merlin Reichert, Die Alltäglichkeit des Untergangs, Installation in der Galerie der HFBK; photo: Tim Albrecht

Graduate Show 2022: We’ve Only Just Begun

From July 8 to 10, 2022, more than 160 Bachelor’s and Master’s graduates of the class of 2021/22 will present their final projects from all majors. Under the title Final Cut, all graduation films will be shown on a big screen in the auditorium of the HFBK Hamburg. At the same time, the exhibition of the Sudanese guest lecturer Amna Elhassan can be seen in the HFBK gallery in the Atelierhaus.

Grafik: Nele Willert, Dennise Salinas

Grafik: Nele Willert, Dennise Salinas

June is full of art and theory

It has been a long time since there has been so much on offer: a three-day congress on the visuality of the Internet brings together international web designers; the research collective freethought discusses the role of infrastructures; and the symposium marking the farewell of professor Michaela Ott takes up central questions of her research work.

Renée Green. ED/HF, 2017. Film still. Courtesy of the artist, Free Agent Media, Bortolami Gallery, New York, and Galerie Nagel Draxler, Berlin/Cologne/Munich.

Renée Green. ED/HF, 2017. Film still. Courtesy of the artist, Free Agent Media, Bortolami Gallery, New York, and Galerie Nagel Draxler, Berlin/Cologne/Munich.

Finkenwerder Art Prize 2022

The Finkenwerder Art Prize, initiated in 1999 by the Kulturkreis Finkenwerder e.V., has undergone a realignment: As a new partner, the HFBK Hamburg is expanding the prize to include the aspect of promoting young artists and, starting in 2022, will host the exhibition of the award winners in the HFBK Gallery. This year's Finkenwerder Art Prize will be awarded to the US artist Renée Green. HFBK graduate Frieda Toranzo Jaeger receives the Finkenwerder Art Prize for recent graduates.

Amanda F. Koch-Nielsen, Motherslugger; photo: Lukas Engelhardt

Amanda F. Koch-Nielsen, Motherslugger; photo: Lukas Engelhardt

Nachhaltigkeit im Kontext von Kunst und Kunsthochschule

Im Bewusstsein einer ausstehenden fundamentalen gesellschaftlichen Transformation und der nicht unwesentlichen Schrittmacherfunktion, die einem Ort der künstlerischen Forschung und Produktion hierbei womöglich zukommt, hat sich die HFBK Hamburg auf den Weg gemacht, das Thema strategisch wie konkret pragmatisch für die Hochschule zu entwickeln. Denn wer, wenn nicht die Künstler*innen sind in ihrer täglichen Arbeit damit befasst, das Gegebene zu hinterfragen, genau hinzuschauen, neue Möglichkeiten, wie die Welt sein könnte, zu erkennen und durchzuspielen, einem anderen Wissen Gestalt zu geben

New studio in the row of houses at Lerchenfeld

New studio in the row of houses at Lerchenfeld, in the background the building of Fritz Schumacher; photo: Tim Albrecht

Raum für die Kunst

After more than 40 years of intensive effort, a long-cherished dream is becoming reality for the HFBK Hamburg. With the newly opened studio building, the main areas of study Painting/Drawing, Sculpture and Time-Related Media will finally have the urgently needed studio space for Master's students. It simply needs space for their own ideas, for thinking, for art production, exhibitions and as a depot.

Martha Szymkowiak / Emilia Bongilaj, Installation “Mmh”; photo: Tim Albrecht

Martha Szymkowiak / Emilia Bongilaj, Installation “Mmh”; photo: Tim Albrecht

Annual Exhibition 2022 at the HFBK

After last year's digital edition, the 2022 annual exhibition at the HFBK Hamburg will once again take place with an audience. From 11-13 February, students from all departments will present their artistic work in the building at Lerchenfeld, Wartenau 15 and the newly opened Atelierhaus.

Annette Wehrmann, photography from the series Blumensprengungen, 1991-95; photo: Ort des Gegen e.V., VG-Bild Kunst Bonn

Annette Wehrmann, photography from the series Blumensprengungen, 1991-95; photo: Ort des Gegen e.V., VG-Bild Kunst Bonn

Conference: Counter-Monuments and Para-Monuments.

The international conference at HFBK Hamburg on December 2-4, 2021 – jointly conceived by Nora Sternfeld and Michaela Melián –, is dedicated to the history of artistic counter-monuments and forms of protest, discusses aesthetics of memory and historical manifestations in public space, and asks about para-monuments for the present.

23 Fragen des Institutional Questionaire, grafisch umgesetzt von Ran Altamirano auf den Türgläsern der HFBK Hamburg zur Jahresausstellung 2021; photo: Charlotte Spiegelfeld

23 Fragen des Institutional Questionaire, grafisch umgesetzt von Ran Altamirano auf den Türgläsern der HFBK Hamburg zur Jahresausstellung 2021; photo: Charlotte Spiegelfeld

Diversity

Who speaks? Who paints which motif? Who is shown, who is not? Questions of identity politics play an important role in art and thus also at the HFBK Hamburg. In the current issue, the university's own Lerchenfeld magazine highlights university structures as well as student initiatives that deal with diversity and identity.

Grafik: Tim Ballaschke

Grafik: Tim Ballaschke

Start of semester

After three semesters of hybrid teaching under pandemic conditions, we are finally about to start another semester of presence. We welcome all new students and teachers at the HFBK Hamburg and cordially invite you to the opening of the academic year 2020/21, which this year will be accompanied by a guest lecture by ruangrupa.

photo: Klaus Frahm

photo: Klaus Frahm

Summer Break

The HFBK Hamburg is in the lecture-free period, many students and teachers are on summer vacation, art institutions have summer break. This is a good opportunity to read and see a variety of things:

ASA Open Studio 2019, Karolinenstraße 2a, Haus 5; photo: Matthew Muir

ASA Open Studio 2019, Karolinenstraße 2a, Haus 5; photo: Matthew Muir

Live und in Farbe: die ASA Open Studios im Juni 2021

Since 2010, the HFBK has organised the international exchange programme Art School Alliance. It enables HFBK students to spend a semester abroad at renowned partner universities and, vice versa, invites international art students to the HFBK. At the end of their stay in Hamburg, the students exhibit their work in the Open Studios in Karolinenstraße, which are now open again to the art-interested public.

Studiengruppe Prof. Dr. Anja Steidinger, Was animiert uns?, 2021, Mediathek der HFBK Hamburg, Filmstill

Studiengruppe Prof. Dr. Anja Steidinger, Was animiert uns?, 2021, Mediathek der HFBK Hamburg, Filmstill

Unlearning: Wartenau Assemblies

The art education professors Nora Sternfeld and Anja Steidinger initiated the format "Wartenau Assemblies". It oscillates between art, education, research and activism. Complementing this open space for action, there is now a dedicated website that accompanies the discourses, conversations and events.

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

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

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.

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

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

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

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?