抵抗要点 Points of Resistance,时间：4月7号下午六点，柏林展出地点是东德时期一座具有纪念意义的教堂Zionskirche
Andreas Blank 安德烈亚斯•布兰克
Jonas Burgert 乔纳斯•伯格特
Tony Cragg 托尼•克拉格
Wojtek Doroszuk 沃伊泰克•多罗斯祖克
Nezaket Ekici 内扎基•埃基奇
FRANEK 法兰克
Asta Gröting 阿斯塔•格罗廷
Sven Helbig 斯文·赫尔比格
Stefan Höller 斯特凡•霍勒
Olaf Holzapfel 奥拉夫•霍尔扎菲尔
Huang Jia 黄 佳
Nikita Kadan 尼基塔•卡丹
William Kentridge 威廉•肯特里奇
Ola Kolehmainen 奥拉•克勒玛宁 Via Lewandowsky 维亚•莱万多夫斯基
Bernd Lohaus 伯恩德•洛豪斯
Sarah Loibl 莎拉•洛布尔
Boris Mikhailov 鲍里斯•米哈伊洛夫
Fiona Pardington 菲奥娜•柏灵顿
Gerhard Richter 格哈德•里希特
Stefan Rinck 斯特凡•林克
Arsen Savadov 阿尔森•萨瓦多夫
Katharina Sieverding 卡塔琳娜•西维尔丁
Vadim Zakharov 瓦迪姆•扎哈罗夫
Curators(策展人）：
Constanze Kleiner
Danicl Marzona
Rachel Rits-Volloch
Stephan von Wicse in cooperation witb
David Elliott
Opening(开幕式）：
Opening: April 7, 2022
Duration: April 8 – May 1, 2022
Sven Helbig concert: April 17, 2022
合作伙伴：
Kleiner von Wiese 画廊
Daniel Marzona 画廊
MOMENTUM
David Elliott
Kateryna Filyuk
ikonoTV 合作
由 Kateryna Filyuk 策划的视频节目：
Piotr Armianovski, Oksana Karpovych, Yarema Malashuk & Roman Himey, Oleksiy Radynski, Mykola Ridnyi, Iuliana Golyb, Dana Kavelina
www.points-of-resistance.org www.kleinervonwiese.com www.momentumworldwide.org www.danielmarzona.c
Address: 地址：
Zionskirchplatz10119 Berlin（柏林）
Gerhard Richter.格哈德·里希特
格哈德·里希特 (Gerhard Richter) 将单色灰色涂料涂在镜子的反面。里希特没有产生图像，而是将玻璃上的灰色颜料转化反射的地面。 观看者可以看到自己和周围环境的镜像，在黑暗的表面上，人们可以将这些单色解释为大型无限曝光的照片。 模糊绘画和摄影之间的界限，艺术家探索抽象之间的复杂关系和代表性。Gerhard Richter applied monochrome gray paint to the reverse sides of a mirror.Instead of producing an image, Richter transforms the gray paint on glass into a ground for reflections. Viewers can see themselves and their surroundings mirrored on the dark surfaces, and one can interpret these monochromes as large-scale photographic plates of endless exposure. Blurring the boundary between painting and photography, the artist explores the complex relationship between abstraction and representation.
William Kentridge.威廉·肯特里奇
William Kentridge
Processional Nose, 2015, Edition 1/6 Mohair Teppich 101 3/5 × 101 1/5 in 258 × 257 cm
威廉·肯特里奇（William Kentridge，1955 年 4 月 28 日出生）是一位南非艺术家，以其版画、素描和动画电影而闻名。 后者是通过拍摄图纸，进行擦除和更改，然后再次拍摄来构建的。 他一丝不苟地继续这个过程，将每一次改动都留给绘图四分之一秒到两秒的屏幕时间。 一幅画会以这种方式被修改和拍摄，直到一个场景结束。
William Kentridge (born 28 April 1955) is a South African artist best known for his prints, drawings, and animated films. The latter are constructed by filming a drawing, making erasures and changes, and filming it again. He continues this process meticulously, giving each change to the drawing a quarter of a second to two seconds' screen time. A single drawing will be altered and filmed this way until the end of a scene.
Tony Cragg.托尼·克拉格
自 1970 年代以来，托尼·克拉格 (Tony Cragg) 反复测试作为雕塑原则的工作过程，收集、分类、堆叠和分层材料。 青铜喀斯特地貌有力地展示了这一原理的进步。 雕塑让人联想到地质构造，似乎以强大的力量对抗重力。Collecting, sorting, stacking, and layering material is a working process that Tony Cragg has repeatedly tested as a sculptural principle since the 1970s. The bronze Karst impressively demonstrates the progress of this principle. The sculpture is reminiscent of geological formations and seems to push against gravity with powerful force.
Stefan Rinck 的《麦当娜》是专为《抵抗点 IV：和平技能》创作的，是动荡时期的一盏感人的希望灯塔。 两个人
在她斗篷的保护怀抱下跪下祈祷，这与我们所有人产生了
Stefan Rinck’s Madonna, created especially for POINTS of RESISTANCE IV: Skills for Peace, is a touching beacon of hope in troubled times. The two figures kneeling in a gesture of prayer beneath the protective embrace of her cloak resonate with us all, hoping and rayer for peace.
Katharina Sieverding.卡塔琳娜·西维尔丁rechts:MATON SOLARISATION F-XII 1969/2022 Farbfotografie, 1 Exemplar, Digitaldruck 200 x 150 cm卡塔琳娜·西维尔丁1944年生于捷克共和国首都布拉格，是德国当代著名的女性先锋艺术家。她1960年代开始到德国杜伊斯堡艺术学院学习，在绘画、舞台美术设计、雕塑、摄影等多个艺术领域均有涉猎，并逐渐通过摄影获得了国际当代艺术界的广泛关注。她曾多次参加威尼斯双年展、卡塞尔文献展等著名国际大展，并在包括纽约古根海姆博物馆、阿姆斯特丹市立博物館等举办个人艺术展。Katarina Siveldin, born in Prague, Czech Republic, in 1944, is a well-known contemporary female avant-garde artist in Germany. In the 1960s, she began to study at the Duisburg Academy of Arts in Germany. She has dabbled in various art fields such as painting, stage design, sculpture, and photography, and gradually gained widespread attention in the international contemporary art circle through photography. She has participated in many famous international exhibitions such as the Venice Biennale and Documenta in Kassel, and held personal art exhibitions including the Guggenheim Museum in New York and Stedelijk Museum in Amsterdam.
Ola Kolehmainen 以其建筑细节的极简抽象特写而闻名，例如几何表面结构或反射窗外墙。 在他早期的一系列作品中，他处理了密斯凡德罗和阿尔瓦阿尔托等建筑师的现代 20 世纪和 21 世纪建筑。 在他目前的立体派照片中，这位艺术家处理神圣空间——即犹太教堂、清真寺、教堂和大教堂的内部和外部。 通过将从不同的、略微偏移的位置拍摄的几个单独的镜头碎片组合起来，Kolehmainen 改变了视角，打破了熟悉的图像轴的对称性。
Ola Kolehmainen is known for his minimalist abstract close-ups of architectural details such as geometric surface structures or reflective window facades. In his early series of works he deals with modern 20th and 21st century buildings by architects such as Mies van der Rohe and Alvar Aalto. In his current, cubist-like photographs, the artist deals with sacred spaces – namely the interiors and exteriors of synagogues, mosques, churches and cathedrals. By fragmentarily assembling several individual shots taken from different, slightly offset locations, Kolehmainen shifts perspectives, breaking the symmetries of familiar pictorial axes.
Andreas Blank.安德烈亚斯•布兰克
POINTS of RESISTANCE IV：Skills for Peace 展示了 Andreas Blank 的三件标志性作品——一件商人的白衬衫小心地折叠在他的公文包上，以及直立在盒子里准备穿的军靴。 这两部作品的并列令人遗憾地象征着我们这个时代。 随着俄罗斯入侵乌克兰，战争悲剧性地回到了欧洲。 在许多乌克兰城市，人们在家或在防空洞工作，而办公室则分配给逃离家园变成战场的难民潮。 那些被双方征召入伍的人，被迫为扩张而战或被要求留下来保卫自己的家园的人，已经用战斗靴代替了他们的职业装，用枪代替了他们的公文包。 乌克兰有这么多逝去的生命在哀悼，布兰克挂在墙上的玄武岩裹尸布让人想起死者家中的黑色镜子。POINTS of RESISTANCE IV: Skills for Peace presents three of Andreas Blank’s iconic works – a businessman’s white shirt carefully folded atop his briefcase, and military boots standing upright in their box, ready to wear. The juxtaposition of these two works is sadly emblematic of our times. With the Russian invasion of Ukraine, war has tragically returned to Europe. In many Ukrainian cities, people are working from home or from bomb shelters, while offices are allocated to the streams of refugees fleeing from homes turned into battlegrounds. Those conscripted into the war on both sides, forced to fight for expansion or required to stay and defend their homeland, have replaced their business attire with combat boots, and their briefcases with guns. And with so many lost lives being mourned in Ukraine, Blank’s basalt shroud hanging on the wall is reminiscent of the mirrors draped over in black in the houses of the dead.
Nikita Kadan早于乌克兰当前的战争暴行，但现在令人心酸的是这一系列被处决的乌克兰士兵和平民的水彩画。Nikita Kadan Predating the current attrocities of war in Ukraine, but poignanty relavent now, is this series of watercolors of excecuted Ukrainian soldiers and civilians.
艺术家自述：我的工作假设是，我们的心理机制是通过分层过程形成的：以记忆痕迹形式存在的材料不时根据新环境进行重新排列——重新排列 转录。 因此，我的理论本质上的新之处在于记忆不是一次而是多次出现的论点。I am working on the assumption that our psychical mechanism has come into being by a process of stratification: the material present in the form of memory traces being subject from time to time to a re-arrangement in accordance with fresh circumstances – to a re-transcription. Thus what is essentially new about my theory is the thesis that memory is present not once but several times over.
WOJTEK DOROSZUK.沃伊泰克•多罗斯祖克
Festin 以 17 世纪佛兰芒静物艺术家的画作为灵感，例如 Frans Snyder、Jan 和 Ferdinand Van Kessel，他们描绘了丰盛的食物，通常装饰着最近拍摄的死去的动物。 进一步暗指彼得·格林纳威 (Peter Greenaway) 华丽衰败的场景，费斯汀设想了一场被未知灾难打断的盛宴，一个人类已经消失的世界。Festin takes as its inspiration the paintings of the 17th century Flemish still life artists, such as Frans Snyder, Jan and Ferdinand Van Kessel who depicted sumptuous spreads of food, often garnished with dead animals which have been recently shot. Further alluding to Peter Greenaway’s scenes of sumptuous decay,Festin envisages a feast interrupted by an unknown calamity, a world from which human beings have disappeared.在乔纳斯·伯格特神秘的戏剧画作中，人物在一层文化符号和古老图案的膜前移动，这些符号和古老的图案似乎从另一个维度降临到我们身上。 乔纳斯·伯格特（Jonas Burgert）通过近乎怪诞的具象绘画将人类心理拟人化。 他敏锐地观察日常生活的细节，见证了人类情感的整个范围。 孤独、仇恨、复仇、虚荣和过度——一系列人类表情丰富了他的想象力——为他的画面中的人物赋予了形式。 Burgert 环境的破裂层反映了其他维度和情感暗流的永恒感。 经常被人物和建筑特征所破坏，画面中的这些眼泪揭示了同时存在的不同层次。In the mystical, theatrical paintings of Jonas Burgert , the figures move in front of a membrane of cultural symbols and archaic patterns that seem to come down to us from another dimension. Jonas Burgert personifies human psychology through figurative painting bordering on the grotesque. Astutely observing the minutiae of daily life, he bears witness to the entire range of human emotion. Loneliness, hatred, revenge, vanity and excess – a parade of human expressions feeds his imagination – giving form to the characters within his tableaux. There is a timeless sense of other dimensions and emotional undercurrents reflected in the ruptured layers of Burgert’s environments. Often breached by characters and architectural features, these tears in the pictorial plane reveal various levels existing simultaneously.
马列维奇的《黑方》和《白方》的偶然结合--黄佳的空间绘画是一个光学幻觉组成的雷区。这幅画由对立的直线平面组成，但却让人无法将其视为直线。它给观众留下了一种不安的感觉，即有些东西是不正常的，它可能是我们扭曲的时代的一个寓言--一个被战争和疾病歪曲的世界，而这曾经是我们对正常的认知。A fortuitous cojoiing of Malevich’s Black Square and White Square - Huang Jia’s spatial painting is a minefield of optical illuson. Made of opposing planes of straight lnes, it nevertheless defies the eye to percieve it as straight. Leaving the viewer with an uneasy sensation that something is somewhat out of joint, it could be an allegory for our twisted times – a world skewed by war and disease off of the straight line which was once our perception of normal.
Bernd Lohaus.伯恩德·洛豪斯
Bernd Lohaus
Untitled, 2001
Wood, 28.5 x 264 x 253 cm unique work
In Zusammenarbeit mit Galerie Daniel Marzona, Bernd Lohaus1940年出生在杜塞尔多夫，2010 年 11 月 5 日去世在安特卫普，是居住在比利时的当代德国雕塑家、画家Bernd Lohaus (geboren 1940 in Düsseldorf und gestorben am 5. November 2010 in Antwerpen) ist ein in Belgien lebender zeitgenössischer deutscher Bildhauer und Maler.
Olaf Holzapfel.奥拉夫·霍尔扎菲尔
Olaf Holzapfel，1967 年出生于德累斯顿，是一位来自一个不复存在的国家的艺术家。 他的成长经历了跨越冷战时代东西方鸿沟的边界——直到现在乌克兰爆发战争——这已成为遥远的记忆。 Holzapfel 长期以来一直对边界、分界和边界感兴趣——或者更准确地说，对间隙空间感兴趣，这两者之间的可能性。
Olaf Holzapfel, born in Dresden in 1967, is an artist from a country that no longer exists. His coming-of-age involved crossing a border between the East-West divide of the Cold War era that - until the current outbreak of war in Ukraine - was becoming a distant memory. Holzapfel has long been interested in boundaries, demarcations, and frontiers - or, more precisely, in interstitial spaces, what is possible in between.
Boris Mikhailov.鲍里斯•米哈伊洛夫
Borys Andriyovych Mykhailov（乌克兰语：Бори́с Андрі́йович Миха́йлов；生于 1938 年 8 月 25 日）是苏联和乌克兰的摄影师。[1]他被描述为“从前苏联出现的最重要的艺术家之一”。[2] Mykhailov 曾获得哈苏奖[3]和花旗银行私人银行摄影奖。Borys Andriyovych Mykhailov (Ukrainian: Бори́с Андрі́йович Миха́йлов; born 25 August 1938) is a Soviet and Ukrainian photographer. [1] He is described as "one of the most important artists to emerge from the former Soviet Union". [2] Mykhailov has won the Hasselblad Award[3] and the Citibank Private Bank Photography Award.
Sarah Loibl.莎拉•洛布尔
通往蓝色的旅程（升天 2）是一系列作品 Convolute Possibilities / Convoluted Possibilites 的许多可能组合之一，Sarah Loibl 自 2016 年以来一直在继续。关于透明纸网的无数研究，一方面为 Loibl 做准备 她高达 3.60 米的大型与墙壁相关的画作，另一方面——一次又一次地折叠、切割和重新组合——将绘画思维的流动性和行动空间作为不断变化的图像组合进行调查和主题化。 在一个框架中，钉在墙上，或者像滚轮车上的松散堆一样分层，它们形成了一个矛盾的连接，强调过程、运动和总是可能的转变的断言。
Journey to the Blue (Ascension 2), is one of many possible combinations of the group of works Convolute Possibilities / Convoluted Possibilites, which Sarah Loibl continues since 2016. Countless studies on transparent paper webs, which on the one hand serve Loibl as preparation for her up to 3.60m large wall-related paintings and on the other hand - folded, cut and recombined again and again - investigate and thematize mobility and action space of pictorial thinking as changing image assemblies. In a frame, pinned to the wall, or layered as a loose pile on rolling carts, they form a contradictory joint, emphasizing process, movement, and the assertion of always possible shifts.
FRANEK.法兰克
艺术家自述：“我的画是叙事关联领域——当我工作时，幻想让我感到惊讶，然后与时事融合，与文学、电影和戏剧有关。 通过各种艺术手法、可用的图像材料和虚构的图像，我将这些领域变成了一个巨大的网络，它总是与世界事件相一致。
“My paintings are narrative associative fields – while I work, phantasms surprise me, which then melds with current affairs and pertaining to literature, film and theatre. Through various artistic techniques, available image material and fictional images, I transform these fields into a vast network, which is always in accordance with world events.
VIA LEWANDOWSKY.维亚•莱万多夫斯基Via Lewandowsky 的作品不言自明。 这两段文字清晰地描绘了我们这个时代。 在它自己的包装箱里，有一个红色的霓虹灯字，意思是“毫无意义”。 艺术家本意是对艺术市场的刻薄评论，这件作品及其背后的情绪更适用于乌克兰毫无意义的战争爆发的今天。 虽然 как жаль (What A Shame) 的翻译标题以发光的西里尔字母书写，但并没有开始涵盖俄语原文中这个短语的深刻悲情。 真是令人遗憾，暴力和镇压再次回到已经忍受了这么多的人民身上。 在 DDR 出生和长大的 Via Lewandowsky 在他的作品中经常以苦乐参半的幽默表达他对这种压制性政治制度的遗产的怨恨。 然而，乌克兰目前正在发生的战争暴行没有幽默的余地，как жаль（多么可耻）作为我们时代的宣言，仍然是苦乐参半。Via Lewandowsky’s works speak for themselves. The two text pieces spell out a scathing portrait of our times. Inside its own packing crate is nestled a red neon word meaning ‘senseless’. Originally intended by the artist as a caustic comment on the art market, this work and the sentiment behind it are even more applicable to our situation today with the senseless outbreak of war in Ukraine. While the translated title of как жаль (What A Shame), executed in glowing Cyrillic letters, doesn't begin to cover the profound pathos of this short phrase in the original Russian. What a shame, indeed, that violence and repression have returned again to a people who have already endured so much. Having been born and raised in the DDR, Via Lewandowsky in his work often voices his resentment at the legacies of this repressive political system with bittersweet humor. Yet there is no room for humor in the atrocities of war unfolding in Ukraine right now, and как жаль (What A Shame), as a statement of our times, remains simply bittersweet.
Vadim Zakharov.瓦迪姆•扎哈罗夫
在一页上印有斯大林受害者的 1000 张肖像（一张在另一张上）。 周围是这些人的 1000 个名字。 作品取材于《不朽兵营》收集的资料。 感谢所有努力恢复在斯大林镇压期间无辜受苦的人们的记忆的人。 今天，这段记忆比以往任何时候都更加重要，当时俄罗斯轰炸了乌克兰的房屋并杀害了乌克兰的妇女和儿童……有意识的健忘症是一种犯罪！
“On one page are printed 1,000 portraits (one on top of the other) of Stalin's victims. Around it are 1,000 names of these people. The work is based on materials collected by "Immortal Barracks". Thank you to everyone who is trying to restore the memory of people who innocently suffered during Stalinist repressions. This memory is more important than ever today, at a time when Russia bombs Ukrainian homes and kills Ukrainian women and children... Consciously amnesia is a crime!“影片中朗读了1000多个非语言单词，其中大部分已在《米老鼠》（德文版）杂志中找到，也取自《神秘之星丁丁》和《Asterix & Obelix》等书籍。 凯撒的桂冠”。在非语言词汇中收集的单词没有任何意义，而只是在语音上反映某些事件：有人昏倒了（BLIEP！），玻璃碎了（CRACK！CLIRR！），直升机坠毁了 冲天炉（KAROMMS！），博物馆倒塌（裂缝！雷声！犯罪！）。“In the film, more than 1000 non-verbal words are read aloud, most of which have been found in the magazines "Mickey Mouse" (German editions) and also taken from the books "Tintin The Mysterious Star" and "Asterix & Obelix The Laurels of Caesar”. The words collected in the non-verbal vocabulary have no meaning, but only phonetically reflect certain events: someone has fainted (BLIEP!), a glass has broken (CRACK! CLIRR!), a helicopter has crashed into a cupola (KAROMMS!), a museum has collapsed (CRACK! THUNDER! CRIME!).Dennis Oppenheim. “Erdarbeit”, Düsseldorf 1969 2 bis 4 Archival Pigment Fine Art Prints /Baryta 25,7 x 32,5 cm, 1/3 ExemplarFiona Pardington（菲奥娜·柏灵顿）1961 年出生于新西兰奥克兰，她是新西兰当地毛利人与苏格兰人的后裔，她拥有奥克兰大学摄影艺术博士学位，目前在新西兰大学任教，是新西兰最受尊敬的女摄影师之一。Fiona Pardington (Fiona Pardington) was born in Auckland, New Zealand in 1961. She is a descendant of local Maori and Scots in New Zealand. She holds a doctorate in photography from the University of Auckland and is currently teaching at the University of New Zealand. She is the most respected in New Zealand. one of the female photographers.
Sven Helbig.斯文·赫尔比格
Skills for Peace 是第四版的 POINTS of RESISTANCE 系列展览，它的名字来源于著名的德国作曲家 Sven Helbig 的静物技能。 它以巴洛克式的 vanitas 绘画风格创作，除其他外，还描绘了一个疫苗瓶、一个滑板、他的 iPhone 和他的第一台电脑的电缆，在众神信使 Hermes 的绝育保护姿态下，除了 静物类型的共同属性。 中央乐谱以施特劳斯的尼采如是说查拉图斯特拉为背景。 畸形的赫尔墨斯由此揭示了双重问题：神圣观念的问题，以及尼采宣称的人在没有上帝的情况下自我征服的问题。
Skills for Peace, the fourth edition of the POINTS of RESISTANCE exhibition series, derives its name from the still life Skills, by the renowned German composer Sven Helbig. Created in the style of baroque vanitas painting, it depicts, among other things, a vaccine vial, a skateboard, his iPhone, and the cables of his first computer under the neutered protective gesture of Hermes, the messenger of the gods, in addition to the common attributes of the still life genre. The central score features Strauss's setting of Nietzsche's Thus Spoke Zarathustra. The deformed Hermes thereby reveals the dual questions: that of the divine idea, and that of the self- conquest of man without God as proclaimed by Nietzsche.
Arsen Savadov.阿尔森•萨瓦多夫
Arsen Savadov 在 1990 年代中期首次引起公众关注，当时他发表了一系列穿着暴露模特在葬礼期间在墓地拍摄的时尚照片，并以墓葬为背景。 生与死、喜与悲、强与弱的震撼与挑衅并置，化作虚实与虚幻的寓言，一直延续到现在。Arsen Savadov first came to public attention in the mid-1990s when he published a series of fashion shoots of scantily clad models taken in cemeteries during funerals, with burials as the backdrop. The shocking and provocative juxtaposition of life and death, happiness and sorrow, power and weakness, transformed into an allegory of pretense and reality, has continued in his works until the present.
Nezaket Ekici.内扎基•埃基奇
艺术家跪在一堆刚宰杀的猪身上。 她戴着安全护目镜和橡胶手套，这是指伊斯兰法律禁止触摸和食用猪肉。 她举起几块肉，闻了闻，好像要确定法律存在的原因。 她的呼吸声被麦克风放大，整个房间都能清晰听到。 这部作品直接参考了她的作品《No Pork but Pig》（2004 年），在该作品中，她和一头活猪在一个小围栏里待了几个小时。The artist kneels in a pile of pork from a freshly slaughtered pig. She wears safety goggles and rubber gloves which refer to the Islamic law forbidding the touching and eating of pork. She holds up pieces of meat and sniffs at them as if to ascertain why the law exists. The sound of her breathing is amplified by a microphone and is clearly audible throughout the room. The work is a direct reference to her piece No Pork but Pig (2004) in which she spent several hours in a small pen with a living pig.Oil on canvas, 140 x 120 cmDaniel Grüttner，1979 年 12 月 13 日出生于 Rotenburg an der Wümme，最初于 2000 年至 2002 年在莱比锡大学学习人类医学，随后转入杜塞尔多夫艺术学院学习，最终成为教授的硕士生。 齐格弗里德·安辛格。 2005年开始参展。 2008 年，他搬到了柏林，Grüttner 现在在那里生活和工作。 自 2009 年以来，他一直是柏林斯塔克基金会的常驻艺术家。
Daniel Grüttner, born on December 13th, 1979 in Rotenburg an der Wümme, initially studied human medicine at the University of Leipzig from 2000 to 2002. He then switched to studying at the Düsseldorf Art Academy, where he finally became a master student of Prof. Siegfried Anzinger. In 2005 he started exhibiting. In 2008 he moved to Berlin, where Grüttner now lives and works. Since 2009 he has been an artist in residence at the Starke Foundation in Berlin.
Angelika Platen.安吉莉卡 •布莱登
Angelika Platen 在柏林自由大学学习艺术史、浪漫主义研究和东方研究，然后在汉堡美术大学学习摄影。 1968 年，她开始担任摄影师和摄影记者。Angelika Platen studied art history, Romance studies and oriental studies at the Freie Universität Berlin and then photography at the Hamburg University of Fine Arts. In 1968 she began working as a photographer and photojournalist.
Stefan Höller.斯蒂芬·霍勒
Born in Hagen in 1964, lives and works in Berlin.
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Du/Laboratory是一个综合性的试验平台，涉及的创作媒介跨越当代艺术的各个层面，对四处空降的国际化当代艺术潮流保持一种警惕性，同时致力于艺术家自身系统的充分、深入挖掘，持续关注徘徊在艺术和非艺术边缘“中间状态”的实践。