Category Archives: Exhibitions

Inauguration / Einweihung der NamensTropfen-Installation von Imke Rust

Ceremony on the occasion of the 77th anniversary of the liberation of Ravensbrück concentration camp and its subcamps on 29/30 April 2022 at the “Waldbau” concentration camp memorial site (Neubrandenburg)

Veranstaltungen anlässlich des 77. Jahrestags der Befreiung des KZ Ravensbrück und seiner Außenlager am 29./30. April 2022 im KZ-Gedenkort „Waldbau“ (Neubrandenburg)

Inauguration of the Name Drops installation by Imke Rust – Ceremony with Minister Dr. Till Backhaus and Vice-President of the State Parliament of MV Elke Annette Schmidt and representatives from the state, district and municipalities

Einweihung der NamensTropfen-Installation von Imke Rust – Festakt mit Minister Dr. Till Backhaus und der Vizepräsidentin des Landtages MV Elke Annette Schmidt und Vertreter:innen aus Land, Landkreis und Kommunen
NamensTropfen Installation by Imke Rust, Waldbau Gedenkort, Neubrandenburg

Deutscher Text: Bitte HIER klicken. (Dr. Martin Müller-Butz, zeitlupe (RAA MV e.V.)

77 years after the liberation of the Ravensbrück concentration camp by the Red Army, the victims were commemorated in a memorial ceremony. This took place at the concentration camp field office in Nemerower Holz near Neubrandenburg. In prominent company, a work of art by the artist Imke Rust was inaugurated at the memorial site in honour of the victims.

Gedenkveranstaltung im Nemerower Holz Beitrag von neueins (2:17Min)

“Waldbau” Concentration Camp Memorial – a place of shared remembrance

30 April 2022 marked the 77th anniversary of the liberation of the Ravensbrück concentration camp by the Red Army. In Neubrandenburg, the National Socialists had set up two more places, the concentration camp in Ihlenfelder Straße in 1943 and the “Waldbau” concentration camp in 1944, where tens of thousands of men and women from all over Europe had to perform forced labour under the most adverse conditions. Both places were subcamps of the Ravensbrück main camp – and at the same time closely linked to the armaments industry in National Socialist Neubrandenburg. Using machines transported from Warsaw to “Waldbau”, the women produced parts for thousands of V1 rockets, pistols, bombing devices etc. for the war of extermination in Eastern Europe. In the last days before the end of the war, both camps were emptied and the already exhausted concentration camp prisoners were systematically maltreated and shot on so-called “death marches”.

On the occasion of the anniversary, the mayor of Neubrandenburg Silvio Witt and the managing director of RAA M-V Christian Utpatel invited to a ceremonial act of remembrance in Waldbau on 29 April, which was attended by Franc But, ambassador of the Republic of Slovenia and representatives of the embassies of Poland, the Czech Republic and Slovakia. With their presence, the diplomatic representatives underlined the significance of the site as a place of remembrance that unites nations and occupies a justified and important place in the European context of remembrance of the Second World War. Other guests such as the Minister of Agriculture and Forestry Dr. Till Backhaus, the head of the Mecklenburg Lake District Thomas Müller and the director of the State Centre for Political Education MV Jochen Schmidt inaugurated the installation of name drops by the artist Imke Rust.

Agra- und Forstminister Dr. Till Backhaus bei der Einweihung der Installation

Naming the names of the imprisoned women – making regional remembrance possible

The installation on the grounds of the former camp makes visible the names of 500 women so far who were systematically exploited as concentration camp prisoners in the camps of Neubrandenburg and in some cases had to do forced labour for the armaments industry based here until their death. Over the past two years, young people and interested adults from Neubrandenburg and the surrounding area engraved the names of some of the 1,500 women on the drop-shaped plexiglass plates, either from home or in joint workshops. Researchers Nadja Grintzewitsch (Managing Director of the Dr. Hildegard Hansche Foundation), Dr. Harry Schultz and Tino Kammerer, under the direction of Eleonore Wolf (City Archives NB) and Dr. Constanze Jaiser, researched the names and compiled them in a database. The installation shows the extent of the crimes committed by the National Socialists in Neubrandenburg and underlines their impact on the lives of women. With the name drops, the German-Namibian artist has enabled an individual and intergenerational remembrance of the women and has already created a multitude of occasions for a joint activating remembrance and a regional search for traces.

Text from Dr. Martin Müller-Butz, 4. Mai 2022, zeitlupe (RAA MV e.V.) Translated by Deepl – free version

Find more information about this memorial installation HERE.

Following some more impressions of the day

Images by Imke Rust ©, 2 images by Stadt Neubrandenburg/Demmin © as indicated

Offene Ateliers 7. & 8. Mai

Scroll down for English

„Die Welt ist bunt. Manchmal schön. Immer aufregend!“

Ich weiß nicht mehr wo ich das gelesen habe oder von wem es ist, aber seit dem ist es zu einer Art Motto in meinem Leben geworden. Und ich finde es passt auch zu meiner Kunst.

Am 7. & 8.Mai  (11- 18 Uhr) könnt ihr euch selbst davon überzeugen. Denn auch in diesem Jahr öffne ich mein Atelier zu den Tagen des offenen Ateliers in Brandenburg.

Wolltest du immer schon mal Kunst von mir besitzen? Oder frische Impulse an deinen leeren Wänden haben? Ein außergewöhnliches Geschenk für einen lieben Menschen? Oder, vielleicht willst du dein erspartes Geld in schöne und aufregende Kunst investieren, bevor es an Wert verliert? Dann ist jetzt die ideale Gelegenheit!

Es gibt tausend gute Gründe Kunst zu kaufen…

Noch einer ist mir zu helfen, Platz zu schaffen für neue, aufregende Arbeiten die gerne entstehen wollen.
Denn mein Atelier platzt aus seinen Nähten und ich würde gerne Platz für Neues schaffen… Gerade in den letzten „Corona Jahren“ sind viele neue Arbeiten entstanden, dafür gab es aber wenig Möglichkeit sie auszustellen oder zu verkaufen.

Außerdem: Während überall die Preise steigen, sind meine immer noch die Gleichen. Da ich wirklich gerne Platz schaffen will, biete ich viele der älteren und größeren Arbeiten sogar noch billiger an.  

Es gibt Arbeiten auf Leinwand oder Papier, von ganz klein bis groß (100x100cm – so das es immer noch bequem mitgenommen werden kann) – alles unter 1000 Euro.

Aber natürlich darfst du auch gerne die Gelegenheit nutzen, einfach so mal wieder vorbei zu kommen – zu gucken, fragen, quatschen und austauschen.

Ich freue mich auf deinen Besuch!

Birkenstr. 11, 16515 Oranienburg O/T Neu_Friedrichsthal

Robinson… Mixed-media on found book cover.


“The world is colourful. Sometimes beautiful. Always exciting!”

I don’t remember where I read this or who wrote it, but since then it has become something of a motto in my life. And I think it also fits my art.

On 7 & 8 May (11 – 18h00) you can see for yourself. Because this year I’m opening my studio again for the open studio days in Brandenburg.

Have you always wanted to own art from me? Or have fresh impulses on your empty walls? An extraordinary gift for a loved one? Or, maybe you want to invest your saved money in beautiful and exciting art before it loses value? Now is the ideal opportunity!

There are a thousand good reasons to buy art….

One more is to help me make room for new, exciting work that is eager to be created.
Because my studio is bursting at the seams and I would like to make room for something new… Especially in the last two “Corona years”, many new works were created, but there was little opportunity to exhibit or sell them.

Besides, while prices are rising everywhere, mine are still the same. Since I really want to make room, I offer many of the older and larger works even cheaper.  

There are works on canvas or paper, from very small to large (100x100cm – so it can still be taken along comfortably) – everything under 1000 Euros.

But of course you are also welcome to just drop by – to have a look, ask questions, chat and exchange ideas.

I look forward to your visit!
Birkenstr. 11, 16515 Oranienburg O/T Neu_Friedrichsthal

Translated with (free version)

Eugene Environmental Film Festival (15 – 24th April 2022)

Szene aus ‘An Infinte Scream’ / Still from ‘An Infinite Scream’

Ich freue mich, das der Dokumentarfilm ‘An Infinite Scream’ über meine Land Art Arbeiten in Namibia beim Eugene Environmental Film Festival gezeigt wird.

Die Filme des hybriden Festivals können online aus der ganzen Welt oder auch vor Ort gesehen werden. Falls du den Film von Steffen Holzkamp noch nicht gesehen hast, oder noch einmal gucken willst, ist dies nun eine perfekte Gelegenheit.

Hier kommst du zu unserem Film:

Der Film wird in Englisch gezeigt.

(Wenn du den Film lieber in Deutsch sehen willst, dann kann ich dir einen privaten Link während dieser Zeit schicken. Bitte schicke mir dazu deine Email Adresse.)

I am happy to announce that our documentary film ‘An Infinite Scream’ about my Land Art Project in Namibia, will be screened as part of the Eugene Environmental Film Festival ( 15-24 April 2022). The hybrid festival allows the films to be seen online from all over the world, as well as in person at the Broadway Metro, Eugene.

In case you have not seen this great documentary film by Steffen Holzkamp yet, or it you like to see it again, this is a perfect opportunity to do so!

This link  takes you to the film. The film will be screened in English.

Von der Webpage vom/ from the webpage of the
Eugene Environmental Film Festival:

“In partnership with The Center for Environmental Futures Emerald Earth Film Festival, we are hosting a hybrid festival!!

April 15th to April 24th, 2022!

Join us for an exploration of our commitment to each other and the environment. Journey and be witness to diverse cultures, traditions, species, beauty, adventure, ecosystems, sustainable practices, and resistance efforts to protect our planet. Envision a world that honors and celebrates voices, perspectives, experiences, and indigenous ways of knowing from around the world

April 15-April 22 films online – free & accessible to a global audience
April 22-April 24 in-person Broadway Metro, Eugene OR

Szene aus ‘An Infinte Scream’ / Still from ‘An Infinite Scream’

Kunst im Druck – Ausstellung

Untangling by Imke Rust, Monoprint and ink on paper (60x88cm)

Ihr seid herzlich eingeladen zur Ausstellungseröffnung in Birkenwerder, wo ich gemeinsam mit 20 weiteren tollen Künstler*innen ausstelle. Ich werde zur Eröffnung anwesend sein und freue mich, euch dort (wieder) zu sehen!

Wer es nicht zur Eröffnung schafft, kann die Ausstellung dann noch in Ruhe bis zum 23. April besuchen.

KUNST IM DRUCK • 21 künstlerische Positionen


Samstag, 12. März 2022, 16.00 Uhr

In der Ausstellung KUNST IM DRUCK präsentiert die Galerie 47 eine Auswahl von 21 künstlerischen Positionen, die eine Vielseitigkeit an Gestaltungsmöglichkeiten der Druckgrafik aufzeigen und Einblicke in die druckgrafischen Schaffensprozesse bieten. Ausgestellt werden realistische und gegenstandslose Bildlösungen, die ihren Ausdruck sowohl in der traditionellen als auch in der innovativen Form finden und damit ein breites Spektrum an künstlerischen Techniken dieser Richtungen zeigen. Gleichzeitig beweisen sie, dass der künstlerischen Ausdruckskraft keine Grenzen gesetzt sind.

Teilnehmende Künstlerinnen und Künstler:
Michael Augustinski, Jutta Barth, Roland Berger, Günther Blendinger, Anne F. Cart, Jürgen Gerhard, Martin Gietz, Dieter Gleffe, Elli Graetz, Wilfried Habrich, Kathrin Karras, Eberhard Lenk, Lothar Nowak, Karsten Kelsch, Christina Pohl, Susanne Pomerance, Imke Rust, Gerard Waskievitz, Edith Wittich, Barbara Zeisberg, Manfred Zoller.

Die Ausstellung sowie das begleitende Programm des gesamten Projektes, welches die Galerie 47 in diesem Jahr auch an anderen Orten in der Region realisiert, finden im Rahmen des „Tages der Druckkunst 2022“ statt.

Im Jahr 2018 wurden die traditionellen Drucktechniken in das Bundesweite Verzeichnis des immateriellen Kulturerbes der Deutschen UNESCO-Kommission aufgenommen. Seitdem ist der 15. März der Tag der Druckkunst, der bundesweit, mit zahlreichen Veranstaltungen gefeiert wird. Seitdem ruft der BBK–Bundesverband Bildender Künstlerinnen und Künstler jedes Jahr auf, diesen Tag zu feiern und unterstützt deutschlandweit Veranstaltungen und Projekte, die zu diesem Anlass durchgeführt werden.

12. März 2022 bis 23. April 2022

Ich zeige aktuelle Arbeiten aus meiner Serie ’States of Being’.  

Hier ein kurzer Text zu meiner Arbeitsweise:
In meiner Kunst versuche ich das Gefühl von Lebendigkeit zu erfahren, es zu verstehen und auszudrücken. Was macht das Leben aus? Welche Verbindungen, Möglichkeiten und auch Limitationen bestimmen unser Mensch-Sein und Leben?

Aus meinem persönlichen Körperempfinden entsteht intuitiv eine direkte und persönliche Bildsprache. Dabei arbeite ich mit einfachen Mitteln die mir viel Freiheit lassen, Techniken, Medien und Ausdrucksweisen zu mischen. Mir ist der Prozess der Entstehung wichtig. Das Resultat ist ‚perfekt’ wenn es in mir ein Gefühl des Erkennens auslöst.

Für die Serie ‚States of Being’ habe ich mit Moosgummi- und Linoldruck als Grundlage gearbeitet, die mir die Wiederholungen von ausgewählten Körperhaltungen ermöglichen. Diese sind offen für viel Variationen und einer Weiterbearbeitung und Interpretation mit anderen Medien. (Imke Rust, Februar 2022)

Weitere Informationen

Rust imagines Twyfelfontein in Sweden

By Martha Mukaiwa for The Namibian Newspaper (copied here with kind permission)

and further down: an interview with Johan Adeström published in Söderhamns Kurieren (translated to English via the internet and copied here with kind permission.

Imke Rust in her art installation ‘Drawing Certainty from the Spring of Doubt’, at Erik-Anders Farm, Asta, Sweden

IN a once derelict hut in Sweden, award-winning multidisciplinary artist Imke Rust draws the spirit of Twyfelfontein across space and time.

Her installation which connects the decorated farmhouses of Hälsingland and the famed site of ancient rock engravings in northern Namibia was created for this year’s World Heritage Scholarship.

Rust was awarded the residency from a crop of 101 applicants from 34 countries and spent four weeks living and working at Sweden’s Hälsingegården Erik-Anders and Kristofers Farm.

The scholarship invited artists to connect the aspirational and elaborately hand-painted farmhouses of Hälsingland with another Unesco World Heritage site and Rust quickly saw a link with the rock engravings of Twyfelfontein, some of which, like ‘Lion Man’ and ‘Dancing Kudu’, are said to depict shamanic rituals and trances.

“Both sites are not ‘mere decorations’ but are intentional creative interventions, which allow us to transcend into an alternative reality,” she says.

Transforming the hut into a fairy tale-like space by painting wallpaper in the style of the decorated Hälsingland farms while referencing Twyfelfontein in images rendered akin to the famed rock engravings, Rust engaged in a highly intuitive process that combined found natural and man-made objects with retro telephone book pages which culminate in an installation she titled ‘Drawing Certainty from the Spring of Doubt’.

Though the installation is in Sweden and draws on Twyfelfontein, Rust maintains that neither becomes the other.

“The installation creates a room where both sites are in correspondence with each other, without imposing one on the other. Correspondence is an open-ended, dialogical process of unfolding and becoming,” she says.

To Rust, this straddling and correspondence between realities, cultures, time and space, provides a unique opportunity for learning and connection.

“Maybe a bit like eavesdropping on a conversation between the two sites and making up your own story from the elements you recognise and the ones which seem strange and unfamiliar. Or like stumbling into an unknown cave and finding more and more treasures as you look, but not fully understanding them.”

Honoured to have her installation supported and on show at the Erik-Anders World Heritage site which receives around 30 000 visitors per year, Rust left Sweden with the feeling of having highlighted our shared humanness.

“One of the central ideas of my art and installation is to show how humans are much more alike than different,” Rust says.

“We marvel at the ‘other’ and how exotic they are, but once we look a bit closer, we can realise that we all have the same needs, hopes and fears.”

Visit to explore the installation online.

–; Martha Mukaiwa on Facebook and Instagram;

See more images and info HERE.


International artist weaves together world heritage from Africa and Hälsingland: “Feeling a bit like a curious child”

What do artistic elements in Hälsingland farms have in common with rock carvings from a world heritage site in Namibia?

“Quite a lot”, says the acclaimed Namibian artist Imke Rust, who for a month worked on an art project at Erik-Andersgården in Söderala.

This is the third time that the World Heritage Scholarship has been awarded by the Gävleborg Region. This year, the Namibian artist Imke Rust has received 5,000 euros to create art where two world heritage sites are linked: Twyfelfontein, an area with rock engravings in Namibia and Erik-Andersgården in Söderala.

This year, more than a hundred applications were received from 34 different countries, but the jury stuck to Imke Rust’s application.

She was born and raised in the Namibian capital Windhoek and has on two occasions received the country’s finest art award from the Namibian national art gallery. Nowadays she lives mostly in Germany.

The visit to Sweden is her first, and she did not know much about the country.

– I had an image that it is a well-ordered country far north, with cold winters, she says and smiles, after just having had experienced a hot summer.

Four weeks ago, she came empty-handed to Erik-Andersgården with the task of pursuing her creative idea: to interweave the Hälsinge farms in an interesting way with Namibia’s first world heritage site Twyfelfontein, which means the doubtful spring in Afrikaans, as there is not always water.

– From the beginning, I thought I would do something inside the house at Erik-Andersgården, but the ideas did not work completely, says Imke Rust.

And she is not an artist who works conventionally, strategically and goal-oriented. One of her watchwords is “trust the process”. Usually many small things must happen before the big thing falls into place.

“I had a vague idea, but I was also clear that I am open to the creative process to happen. The places and the material tell me what to do next. It’s like a dialogue. Communicating with the places and the objects and asking how they want to get together”, she says.

She prefers to call herself a multimedia artist. Which means that she uses what is available to take the creation forward.

“I love working like this, to just listen and feel and accept the process. In a way. But it can also be frustrating. As a person, I am really structured as well and like to have a plan for what to do. There may be some conflict …

– And of course I can feel stressed when I have a limited time of four weeks and I have received a scholarship where there are expectations. It can feel a little strange when people come and ask: How are you, what are you doing? And one can only answer: I do not know yet. But I have realized that this is how I work, she says.

But what began with empty hands and an empty sheet has now resulted in an art installation. A walk in the meadows around the farms in Söderala has now ended in a small abandoned cottage a few steps from Erik-Andersgården, which has been given new life.

It with the help of old objects found in the cottage and with new elements of paintings from Twyfelfontein.

– The first thought is of course that there are totally different places from completely different parts of the world. But people have always decorated and used art to communicate and tell things. It does not matter if it was 5,000 years ago in Africa or 300 years ago in Hälsingland. The need is the same, says Imke Rust.

She describes the rock engravings in Twyfelfontein as a way to create an alternative reality. Something that has also been common in Hälsingland.

– Even in the Hälsinge farms, people painted and tried to imitate precious materials such as marble. To make it look more glamorous and finer than it really was.

The tiny cottage was abandoned and full of dust and debris, but also contained a wood stove, wooden chair and some other small items have now been given an alternative reality.

The walls are now decorated with old pages from a telephone directory with exotic painted animals similar to those in Twyfelfontein and small rock carvings in miniature.

– It was only in the last few days that everything came together. I have not really been able to show anything before now.

And how does it feel to leave it behind you now and leave here?

– Exciting and a little sad. I have put so much energy into it. But I like working with things that are non-permanent. When I open the door and walk away, perhaps nature and the rain will destroy it over time. It is also an interesting process…

– If you look in here, you may not understand everything immediately. But your mind will surely create new stories. I hope you feel a bit like a curious child when you look around here, says Imke Rust.

Johan Adeström for Söderhamns Kurieren, originally published in Swedish, translated via Google Translate.

Offenes Atelier und Ausstellungen

Es ist viel passiert und viel geplant…
Gerne nutze ich die Gelegenheit euch einzuladen und zu informieren.

Gerade bin ich von meinem 4-wöchigem Welterbe Stipendium aus Schweden zurück gekommen und gleich geht es mit ein paar spannenden Events weiter zu denen ich euch einladen möchte!
Zu dem Welterbe Stipendium will ich in den nächsten Tagen noch einen ausführlicheren Post schreiben.

Tage des offenen Ateliers in Brandenburg:
Am 21. Und 22. August öffne ich wieder mein Atelier für Besucher, Sammler und solche die es noch werden möchten.

Unter anderem kann man einige meiner neuen Arbeiten aus Schweden sehen und ich erzähle gerne über meine ortsbezogene Installation und Erfahrungen dort.

Jeweils von 10-18Uhr
Birkenstr. 11, 16515 Oranienburg OT Neu-Friedrichsthal.

Gransee zeigt Gesicht

Am 28. August (12 – 16Uhr) eröffnet die Ausstellung
Gransee zeigt Gesicht
Marina Hillebrand | Reiko Kammer | Imke Rust

Die Ausstellung endet am 24. Oktober.
Ruppiner Strasse 61 · 16775 Gransee
Di bis Fr 10 – 16 Uhr · Sa und So 12 – 16 Uhr
Ein Projekt von KuNO e.V. 

L’andart21 – 4a Biennal Internacional d’Andorra


Als Teil des Künsterinnen Kollektiv ZAC (Zest Artist Collective) stelle ich noch bis zum 15. September 2021 bei der

L’andart21 – 4a Biennal Internacional d’Andorra
in Spanien eine Raum und Audio Installation ‘Nature’s Dance’ aus.

Weitere Informationen und Bilder:

Kurse an der Volkshochschule Oberhavel

Bei der Volkshochschule Oberhavel startet das neue Semester und ab Ende August gibt es wieder einige Kurse von mir.
Zur Zeit gibt es in allen Kursen noch freie Plätze, aber aus Erfahrung werden sie dann doch schnell voll.
Hiermit also eine Erinnerung euch bald anzumelden, wenn ihr Lust habt wieder kreativ zu werden mit dem beliebten Art Journaling, der intuitiven Malerei, Kunst in der Natur, Leporellos oder Vision Boards gestalten oder zu lernen wie man eine Instagram Seite gestaltet und vermarktet.
Ich freue mich auf neue Teilnehmer*innen, und natürlich genauso sehr auf bekannte Gesichter!

Informationen zu den Kursen und Daten findet ihr auf der Seitei der VHS Oberhavel. 
Buchungen bitte auch über die VHS online, oder telefonisch unter 03301 601-5752

Imke Rust receives the World Heritage Scholarship

(Text quoted from the original site of the The Decorated Farmhouses of Hälsingland.)

The Culture and Competence Board with Region Gävleborg has awarded the World Heritage Scholarship for 2021. It will go to artist Imke Rust, born in 1975 in Windhoek, Namibia, and now based in Oranienburg, Germany.

Imke Rust is an established artist and was educated at the University of South Africa, and other places. In her work she examines relationships between myth and reality, people and nature. She challenges common conceptions about what it’s like to be a person, and offers fresh perspectives. Imke Rust´s art is profoundly personal, and its aim is to create meaning through processes, narratives and materials, with a will to bridge gaps between cultures and continents, history and the present, and between people and nature.

It’s incredibly exciting that the World Heritage Scholarship has made its breakthrough this year, and that so many people from around the world have applied. With this year’s World Heritage Scholarship we are also connecting two fascinating world heritages on two continents through art. The very keynote of world heritage, says Magnus Svensson (C), Chairman of the Culture and Competence Board.


Farmers in Hälsingland built and decorated many beautiful farms during the mid-1800s. Thousands of years earlier, hunters and gatherers in Namibia meticulously decorated the surrounding landscape with rock carvings, showing scenes of animals, people and abstract patterns. This year’s World Heritage Scholarship holder, artist Imke Rust, grew up on a farm in Namibia, but has been living and working for some time in Oranienburg in Germany. She sees a direct link between the Hälsingegårdar World Heritage and Namibia’s first world heritage; Twyfelfontein.

Example of a Namibian rock painting scene

The World Heritage Scholarship has made a real breakthrough this year. 101 applications were submitted in total – 42 national and 59 international. They have come from 34 different countries: Indonesia, Italy, Germany, Egypt, Spain, India, France, Portugal, Namibia, USA, Syria, Algeria, the Czech Republic, Ethiopia, Bangladesh, Canada, Colombia, Austria, Finland, the United Kingdom, Denmark, Singapore, Mexico, Iceland, Hungary, Serbia, Cyprus, Nepal, Zambia, Greece, Poland, Iran, Japan and Sweden.

Find out more about the: Decorated Farmhouses of Hälsingland.

Example image of an interior of a decorated farm house. (Svenska: Jon-Lars, Image by Sanna.lonngren)
Example image of the Swedish farmhouses (Svenska: Gästgivars med den högra byggnaden. Author: Catasa)

17. Brandenburgischer Kunstpreis (bis 30. August 2020)

Ich und meine Arbeit beim 17. Brandenburgischen Kunstpreis / Me and my work at the 17. Brandenburg Art Prize

Noch bis zum 30. August 2020 ist meine Arbeit Zusammenwachsen, bestehend aus 9 Mixed Media Grafiken beim 17. Brandenburgischen Kunstpreis im Schloß Neuhardenberg zu sehen. (Und auch käuflich zu erwerben.)

Ich freue mich, das ich es in diesem Jahr geschafft habe, in die Ausstellung des bedeutendsten Kunstpreises in Brandenburg aufgenommen zu werden und gemeinsam mit vielen herausragenden Kollegen*innen auszustellen.

In der Serie beschäftige ich mich mit der Verbindung zwischen Mensch und Natur, und der Sehnsucht in einer neuen Heimat Wurzeln zu schlagen, während man gleichzeitig die Saat und Äste des Geburtslandes in sich trägt.

Zusammenwachsen, Linoldruck und Tinte auf Papier, 9 Blätter, je 20x20cm (Linocut and ink on paper, 9 sheets, each 20x20cm)

My work Zusammenwachsen can still be viewed till the 30th of August 2020 at the 17th Brandenburg Art Prize in Schloss Neuhardenberg. It is a graphic mixed media work, consisting of 9 sheets and it is for sale.

I am very excited that my work has been selected for this year’s exhibition of the most prestigious art prize in Brandenburg. It is an honour to exhibit with so many brilliant colleagues.

This series is about the relationship between humans and nature and the longing to grow roots in another country, while carrying the seeds and branches of your home country.

Klicke auf die Bilder in der Galerie um sie zu vergrößern / Click on the images in the gallery to see a larger version.

Während der Preisverleihung / During the prize-giving event:

Meine Arbeit wurde in einer ungewöhnlichen Art an prominenter Stelle präsentiert.

My work was showcased in an unusual, but prominent way.

Collaborative Art Project on Show in the Netherlands

Kunstwandeling EB | Art walk EB  
26 Juli – 26 Oktober 2020

Kunstwandeling EB | Art walk EB  
26 Juli - 26 Oktober 2020

Together with Karin van der Molen, Karen Macher, Lucia Loren, Elena Redaelli and Sally Kidall, I am currently exhibiting our collaborative artwork Cross Pollination at the art walk EB.

Cross Pollination
Six artists from 4 different continents bring their ideas together in this installation. The six women know each other from their international nomadic artist’s existence, which suddenly came to a halt due to the corona pandemic. Encounters and exchanges are an important source for transcending a low tide situation. The idea for a ‘message in a bottle’ project originated from an intensive exchange via digital channels. They sent seeds, plants, soil, bones and ashes from Namibia, Australia, Peru, Spain, Italy and the Netherlands, to represent a small collection of our worldwide ecological DNA. Long ago, the continents of the six women were originally linked  together and our soil, plants and ancestors share a similar yet very different DNA. Our continents remain connected by the oceans and the air, which share the global consequences of our existence. Cross-pollination is necessary to keep it liveable.

Installation view (Photo by Karin van der Molen)

About my contribution:

Over the past months the world has changed dramatically. Everybody had to adapt to a changed reality of lock-downs, closed borders and isolation. Life turned more digital and virtual, but at the same time many people became sensitive to essential needs and self-sustaining practices, remembering old, traditional ways of life.

This crisis has forced us to reconsider what is essential and important to us and find alternative ways of being.

Based on the idea of communicating through messages in a bottle, I am offering messages about the essence of life. They are preserved and sealed in isolation of the bottle and can travel safely through the oceans of the world. Together with the bottles of my fellow artists they form a database of knowledge, beauty and a symbolic starter-pack for a new future. 
I am interested in the connection between the physical and non-physical world. In my art I explore the relationships between myth and reality, in order to create meaning. 
​Therefore, my messages take the form of physical, mythical and soul essences. Three types of Namibian seeds (representing ancestors and beginnings, beauty & pain and nourishment); fertile ground from my home country Namibia, and soil from my current home in Germany; my hair, as an essence of myself; huge white thorns of the Camelthorn tree, as an essence of protection and a decayed leaf as a thought about death.

Please click on the image to read more about the contents of the bottles.


Have a look at the group’s website and information about the contributions of my wonderful fellow artists from Peru, Spain, Australia, Italy and the Netherlands HERE.


Visitors at the artwork. (Photo: Karin van der Molen)
Detail view: click on the image to find out more (Photo: Karin van der Molen)

The Seven Gates of the Rainsnake

The Seven Gates of the Rainsnake / Die sieben Tore der Regenschlange

Ephemeral Installation, approximately 10m long x 1,70m heigh. Bamboo, Sisal rope, branches, talcum powder and sunflower oil. / Vergängliche Installation, ungefähr 10m lang und 1,70m hoch, aus Bambus, Sisal, Äste, Talkum und Sonnenblumenöl.

(Deutsch weiter unten) This work was created during the last two days of the Abidjan Green Arts Biennale. The original idea was to create a work directly linked to the title of the AGA Biennale ‘DÉCHIFFRER LA FORÊT’ (Decipher the Forest) by creating mysterious signs or codes which seem to float on an almost invisible line. As I worked these signs slowly took on the idea of a mythological snake which protects the rainforest and the rain. Hence the title.

During the opening I introduced this work to the audience under blue sky. As everybody passed the rainsnake to continue to the next work, there was sudden and unexpected deep and long rumbling of a thunder. A few minutes later the rain started to pour down on us – just maybe the rainsnake wanted to remind us of her magical powers…

To see more works created by me during the AGA 2019 click HERE


(Deutsch) Diese Arbeit entstand an den letzten 2 Tagen. Ursprünglich hatte ich die Idee nach dem Titel der AGA Biennale ‘Entschlüsselung des Waldes’ eine Kode / geheimnisvolle Zeichen zur Entschlüsselung in den Wald zu setzten, die auf einer fast unsichtbaren Linie zu schweben scheinen. Während der Arbeit wurden diese Zeichen immer mehr zu einer Art mythologischen Schlange, die den Regenwald und den Regen beschützt.

Bei der Eröffnung war strahlend blauer Himmel, als ich dem Publikum diese Arbeit vorstellte. Als das Publikum dann an der Regenschlange zur nächsten Arbeit vorbei lief, donnerte es plötzlich tief und lang. Kurz darauf fing es an in Strömen zu regnen – als ob die Regenschlange uns vielleicht wirklich von ihrer Magie überzeugen wollte.

HIER gibt es weitere meiner Arbeiten zu sehen die bei der AGA 2019 entstanden sind.

A short video of the work with the original sounds from the forest