The leathered instruments continue to be played in performative settings. In the performance Lieder in Leder* Kruse sings songs from Chöre & Soli, half-hidden in a column of leather. She is accompanied by her daughter Edda Kruse Rosset on the leather-covered drums. All instruments are used in Konzert in Leder, and Kruse beats the metal sheets printed with the lyrics of the songs, which create a clattering counter-sound to the instruments muffled by the leather. Sophia Bicking, Danielle de Picciotto, Alexander Hacke, Edda Kruse Rosset and Alma Neumann accompanied Kruse at the one-off concert on April 10, 2025, at the Berlinische Galerie. The performances Lieder in Leder and Konzert in Leder are included in the e-book as videos.

*Lieder in Leder are based on the short acappella songs from the box Chöre & Soli by Die Tödliche Doris, published in 1984 by Gelbe Musik, Berlin, and Pure Freude, Düsseldorf.

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This e-book is a digital record, documenting the gathering of materials and the process of creating the project The Scream of the Strawbear. In his photographs, videos, installations and performances, visual artist Matthew Cowan surveys European customs and traditions and their continuing social function today. This interest originally stemmed from learning English ritual dances in New Zealand and has sparked an ongoing exploration of folklore and its contemporary connotations in a wider European context. A sequence of rituals, materials, costumes, plants, and museum artefacts form the central staging point of his artistic research.

In The Scream of the Strawbear, the New Zealand-born artist documents selected traditions from the German city of Giessen and the surrounding countryside, placing them in the context of contemporary art. The publication includes texts that reveal the process of artistic research involved in the work. It covers diverse yet connected themes of folklore originating from traditions in Hesse as well as historical links that cross the world from New Zealand to Europe and the United Kingdom.

Matthew Cowan collaborated with communities whose annual traditional ritual customs, such as the Strawbear and Maimann, take place close to Giessen. These community rituals provide a focus for the aesthetic material of the project. Straw, eggs, leaves, tobacco, cameras, and sound recording devices all feature as artistic motifs in the resulting exhibition at Kunsthalle Giessen.

The e-book contains extensive photographs and documents from the research and exhibition and five performance videos produced over the course of the project.

The Scream of the Strawbear was exhibited at Kunsthalle Giessen and the Oberhessisches Museum from September 7 to November 17, 2019.

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This e-book is a digital record, documenting the gathering of materials and the process of creating the project The Scream of the Strawbear. In his photographs, videos, installations and performances, visual artist Matthew Cowan surveys European customs and traditions and their continuing social function today. This interest originally stemmed from learning English ritual dances in New Zealand and has sparked an ongoing exploration of folklore and its contemporary connotations in a wider European context. A sequence of rituals, materials, costumes, plants, and museum artefacts form the central staging point of his artistic research.

In The Scream of the Strawbear, the New Zealand-born artist documents selected traditions from the German city of Giessen and the surrounding countryside, placing them in the context of contemporary art. The publication includes texts that reveal the process of artistic research involved in the work. It covers diverse yet connected themes of folklore originating from traditions in Hesse as well as historical links that cross the world from New Zealand to Europe and the United Kingdom.

Matthew Cowan collaborated with communities whose annual traditional ritual customs, such as the Strawbear and Maimann, take place close to Giessen. These community rituals provide a focus for the aesthetic material of the project. Straw, eggs, leaves, tobacco, cameras, and sound recording devices all feature as artistic motifs in the resulting exhibition at Kunsthalle Giessen.

The e-book contains extensive photographs and documents from the research and exhibition and five performance videos produced over the course of the project.

The Scream of the Strawbear was exhibited at Kunsthalle Giessen and the Oberhessisches Museum from September 7 to November 17, 2019.

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Rotterdam was very badly destroyed during the Second World War, a fact that can still be felt today. Since its reconstruction in the 1950s, the city has been an experimental field for modern architecture.

Photographer Annette Kisling spent a year in Rotterdam in 2003 and gave her photographic impressions of the city’s multi-layered, lively, and at the same time fragile appearance. She continues her work in Rotterdam from 2017 to 2023. The city has changed a lot in the meantime. Diversity has remained Rotterdam, but a new exclusivity has been added. The city is focusing more and more on densification and economic upgrading.

With Verplaatst, an extensive photographic series has been created that gives a complex impression of the city’s development. The publication of the same name comprises a selection of 174 photographs that Kisling has compiled especially for the e-book.

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For thirteen months, Regine Steenbock  wandered her way through textile mass production for the world market in the Pearl River delta and discovered, in startingly coexistence, the highly elaborated traditional textile culture and contemporary fashion of the Miao and other Chinese minority groups 1300 kilometers inward in Guizhou. Mythological treatment of the past encounters a hopeful faith in progress; politics controlled from afar encounters local anarchy.

Organized in thematic chapters, this publication presents the essence of an extensive archive of visual material created between 2016 and 2018, complemented by commentaries expanding the specific contexts. The e-book also includes twelve brief videos.

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“Exit represents a development in the theme of disappearing acts prevalent in Rebecca Milling’s work. This series of photographs captures animals exiting the scene, and is distinct in its graphic and formal use of tone… The animals, cut in half and leaving the frame, give oblique but pointed reference to the mass endangerment of species in our present environmental crisis […].”
Cordelia Underhill

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Das Bilderbuch VAAL erzählt von einem kleinen Jungen, der herausfinden will, welches Geheimnis sich im Betonmischer seines Vaters verbirgt. Die Geschichte untersucht das moderne Phänomen des urbanen Schamanismus und das traditionelle Problem der Neugier. (Der Name VAAL geht zurück auf eine untergeordnete Gottheit aus einer Star Treck Episode.)

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„Eighty years later, Inken Reinert delved into the tables of the mechanical recordings of words we can no longer hear. When she eventually began drawing on the charts, the voices of the Italian men and women seem to resonate with her. The artist becomes a medium that records and transforms the sounds of those words spoken many years ago.“

Ania Corcilius

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