Online Lectures

Formats such as online lectures are an essential part of the teaching offered within the framework of EU4ART. Not only analog, but also digital and virtual mobility must be promoted in order to expand and strengthen future cooperation and communication across European physical borders.

Experimental Video and Collective Art Practice in Congo

Online lecture with Eléonore Hellio, Democratic Republic of Congo | Material Method Meaning – Online Series

Contemporary art practice in the Democratic Republic of Congo is not really in the focus of the globalized art scene. Nevertheless, a vibrating art scene and fascinating artistic collaboration projects can be found there.

Eléonore Hellio lives and works in Kinshasa (Democratic Republic of Congo). She organizes workshops, makes films, installations, performances and publishes texts and photographic work, as a solo practitioner and in collaboration with Kongo Astronauts, a collective that she founded in 2013 with performance artist Michel Ekeba. As one of the co-founders of CATPC (Cercle d’Art des Travailleurs de Plantation Congolaise), she is at the helm of daily actions aimed at questioning and understanding the critical curriculum of LIRCAEI (Lusanga International Research Centre for Art and Economic Inequality) through the making of ancestral and afrofuturist sculptures with plantation workers. Simultaneously, she is involved in a wide range of art and research projects like SPARCK, an experimental Pan-African curatorial platform bringing together international thinkers around questions relating to the impact of digital globalization and challenges posed by the postcolonial era.


Join the event via Zoom | Thursday 17.12.2020 | 5 pm (Rome, Budapest, Dresden = 6 pm Riga time)



#8 Beyond arts vs. Crafts, exploring a contemporary framework for lacquer painting

Online Lecture with Phi Phi Oanh (VN) | Material Method Meaning – Online Series

Sơn ta, a resinous substance extracted from the Rhus Succedanea tree native to North Viet Nam, has been collected and processed artisanally since ancient times. Traditionally, the resin was used to cover the wood of everyday objects and of the interior of temples, not just as decoration, but also to protect them from termites and other insects as well as changes in temperature and humidity. Beginning in the 1930s, Sơn Ta was adapted as a fine arts painting medium at the École Supérieure des Beaux Arts de l’Indochine established by the French colonial government.

The first generation of Vietnamese painters of this school pioneered pictorial techniques of lacquer, merging ancient techniques of village crafts with the expressive ideals of French romanticism to create a truly hybrid art form. When this ancient substance known as sơn ta (Vietnamese lacquer) was transformed into the modern tranh sơn mài (lacquer painting) it was joined to a broader genealogy of painting, one that can be described as western and art historical.

 Phi Phi Oanh is an independent visual artist who uses Vietnamese sơn ta lacquer as an area of artistic research. He´s interested in the process of acculturation, not only in how lacquer becomes painting, but also in how this process comprises an entire history of representation “becoming” lacquer. This goes beyond the assumption that lacquer merely attained appreciation as an objet d’art and reified into a “canon” of visual styles. My work explores the medium’s ongoing dialogues in the field of painting throughout the 20th century, from modernism to the contemporary period – its ontological search for itself, questioning and expanding into areas such as philosophy, critical theory, identity politics and visual culture. Vietnamese lacquer, thus having become Vietnamese lacquer painting, is now an assembly of meaning with the cognitive faculties to order signs, perspectives, take part in a thought relationship between subject and object, content and representation, as well as attend to the particular will of the individual and his or her relation with the environment.


Join the event via Zoom | Thursday 10.12.2020 | 5 pm (Rome, Budapest, Dresden = 6 pm Riga time)

Online Lecture with Joanna Kiliszek (PL) | Material Method Meaning – Online Series

The same mistake should not be made twice. In 2019, after four years of destruction of civil society and culture, Polish society elected a nationalist-conservative government for the second time.

 It is difficult to specify an area where the balance of four years of rule by the Law and Justice Party (PiS) would be as clearly negative as in culture – perhaps apart from the reforms of Minister Ziobro’s judicial system. The rule of the Prime Minister and Minister of Culture and National Heritage – Mr. Gliński means constant conflict, attempts at censorship, incompetent takeover and destruction of the institutions that have functioned so far.

At the first line of demolition there were the theatre and literature, then museums, especially historical and international cooperation. This was followed by the field of film. In the end, in 2019, censorship came into play against contemporary art and art centres, as well as against universities, including art academies.

How does Polish contemporary visual art act now? How to look for new and alternative forms of work? In the last years of the undemocratic rule of the Law and Justice Party, no new, visible cultural creative environment was created on the right side. This makes it all the more important to observe new phenomena in contemporary art in Poland, and new from the action. In this lecture we will look at the practices of Polish contemporary art, which is in a state of emergency.

Dr. Joanna Kiliszek – historian of art, curator cultural manager. Studied at the Art History Department at the University of Warsaw and at the University of Cologne. She obtained a PhD in the M. Skłodowska-Curie Innovative Training Network NACCA at the Faculty of Conservation and Restoration of Works of Art at the “NOVUM” Interdepartmental Studio for the Protection and Conservation of Modern and Contemporary Art at the Academy of Fine Arts in Warsaw in 2019.

She was the Deputy Director of the Adam-Mickiewicz-Institute/Warsaw, 2008-2014, Director of the Polish Cultural Institute in Berlin, 2001-2007 and in Leipzig, 1996-2001. Member of the AICA and Association of German Art Historians. Lives in Berlin.


Join the event via Zoom | Thursday 03.12.2020 | 5 pm (Rome, Budapest, Dresden = 6 pm Riga time)

What can art do? Empirical investigations into the depth, scope, and implications of our shared art experiences

Online Lecture with Matthew Pelowski | Material Method Meaning – Online Series

Despite the millennia-old appreciation and anecdotal documentation of the power and nuanced nature of art experiences, actual empirical scientific investigations of how we experience art and how our diverse reactions might connect, diverge, or unite across styles and peoples are only now emerging. Especially there are very few attempts to explore experiences in ecologically valid settings and to connect what happens in art experience to actual implications for the individual, their mind and bodies, as well as for society. Thus, we also find questions, from a number of levels, regarding why we devote such resources to art presentation and practice, and whether there might be better avenues for public resources or interest. In this talk, Matthew Pelowski reports on a program he and his colleagues have been developing for several years, and for which they were recently awarded EU Horizon2020 funding, to theorise and then investigate how individuals engage with art across a range of art varieties and ecologically valid settings. Pelowski reports on preliminary findings employing advanced Network modelling and a range of empirical measures for tracking emotions, physiological responses, and even the body, and connecting these to real-world impacts on the viewer.

Matthew Pelowski PhD is Asst. Professor for Psychology of Cognitive and Neuroaesthetics at the University of Vienna, 
Faculty of Psychology, Department of Cognition, Emotion, and Methods in Psychology.

Registration: baumhauer.eu4art @ hfbk-dresden . de

Join the event via Zoom | Thursday 19.11.2020 | 5 pm (Rome, Budapest, Dresden = 6 pm Riga time)

Join the event via Zoom Thursday 05.11.2020
5 to 6.30 pm


Zulfikar Ali Bhutto (b. Damascus, 1990) is a visual artist, performer and curator. Bhutto’s work explores complex histories of colonialism that are exacerbated by contemporary international politics and in the process unpacks the intersections of queerness and Islam through a multi-media practice. Bhutto was curatorial resident at SOMArts Cultural Center where he co-curated, The Third Muslim: Queer and Trans Muslim Narratives of Resistance and Resilience and has shown in galleries, museums and theaters globally. He has spoken extensively on the intersections of faith, radical thought and futurity at Columbia University, UC Berkeley, and The California College of the Arts and Mills College. Bhutto is currently based in San Francisco, California where he received an MFA at the San Francisco Art Institute in 2016.

More Info via:

Join the event via Zoom Thursday 29.10.2020 from 5 to 6.30 pm


Material Method Meaning nr.3

Alexander Koch: Acting in the Extended Field. The Art of the Civil society.

When artists receive commissions from citizens, a new relationship between art and society becomes possible.

Within the New Patrons program, mediators support citizens and artists to create ambitions projects that respond to the needs and desires of local communities, regardless who they are. Even though 500 projects were realized in the past 30 years, this is still a new way of working in the (extended) field of art. Alexander Koch is a curator, author and gallerist, and he is director of the German New Patrons program „Neue Auftraggeber“.

More Info via:

Join the event via Zoom | Thursday 22.10.2020 | 5 pm (Rome, Budapest, Dresden = 6 pm Riga time)


Online Lecture with Till Ansgar Baumhauer; PhD | Material Method Meaning – Online Lecture Series

Drawing and Documentation of scientific result have been intertwined for centuries. But, apart from the precision of depiction in general, which exactly, is the role of the artist in this field of work?

How do artistic practice and perception make additional viewpoints possible and visible, but also open up the field to aspects of modification or errors within these processes of gaining insight? And which are perspectives developing from these questions towards a new important role of artistic practice within the field of art, scholarly work and artistic research?

Till Ansgar Baumhauer works at HfBK Dresden in the EU4ART team. He studied painting, graphics and transdisciplinary artistic practice in Berlin and Dresden, worked as archaeological draftsman in Afghanistan from 2009 to 2011 and hold an artistic PhD from Bauhaus University at Weimar.

Join the event via Zoom | Thursday 15.10.2020 | 5 pm (Rome, Budapest, Dresden = 6 pm Riga time)


Although contemporary art practice has already discovered and used almost all available materials, there are a number of materials that meet with resistance from artists and viewers alike. This resistance has cultural connotations and can itself become the object of investigation in artistic practice.

Lisa Glauer is a painter working at on the interface to installation and public art and has worked as a curator and art & design theorist. Her project “Walking from Frauenklinik to Futurium” was recently funded by the Berlin School of Advanced Studies in Science and Studies in Berlin, where she was selected to participate as an Associate until 2019.  She was called on to work on the “GedenkOrt Charité” public art project as part of the project team, dealing with the commemoration of victims in relation to medical atrocities during National Socialism and has been working as a research fellow at Charité, Institute for History of Medicine and Ethics of Medicine, and the Institute for Art in Context/UdK since 2016. Besides maintaining her own artistic practice, she has been teaching at Institute for Art In Context as deputy of Wolfgang Knapp (Vertretung in der Lehre) from 2016- 2018, producing two exhibitions with and for the students of her seminars these past two years. She taught at Associate in the international MFA Program Public Art and New Artistic Strategies at Bauhaus-University in Weimar (Bauhaus-Universität Weimar) from 2009 until 2015, where she focussed in particular on developing and implementing international projects in public space.

© Eléonore Hellio (in collaboration with Cercle d’Art des Travailleurs de Plantation Congolaise). Produced by Lircaei and Kongo Astronauts. Courtesy Axis Gallery, New York.

#9 Experimental Video and Collective Art Practice in Congo | © Eléonore Hellio, Republic of Congo

Phi Phi Oanh_Detail aus „Pro Se“. 2017. Lack auf Holz, 24 x 18.5 cm_2

#8 Beyond arts vs. Crafts, exploring a contemporary framework for lacquer painting | © Phi Phi Oanh (VN)

JPII gegen Frauen

#7 In Art We Trust – Polish Version | © Joanna Kiliszek (PL)