In a series of Artist Talks and Screenings, which takes place on Tuesday evenings every second week, we will gather in different Muthesius locations (SPCE, Kesselhaus & The ZFM Seminarroom), in order to, together and with invited guests, look at, listen to and discuss a selection of contemporary time based media works and practices.  In connection to each event there will be soup & bread served.

In einer Reihe von Künstlergesprächen und Screenings, die jeweils am Dienstagabends (jede 14 Tage) stattfinden, werden wir uns an verschiedenen Orten der Muthesius (SPCE, Kesselhaus & Seminarraum des ZFM) treffen, um gemeinsam mit eingeladenen Künstlern eine Auswahl zeitgenössischer zeitbasierter Medienarbeiten und -praktiken zu betrachten, anzuhören und zu diskutieren. Im Anschluss an jede Veranstaltung wird eine Suppe und Brot serviert.

Dienstags 19.30-21.00 folgende Termine 

28.10 Annika Larsson - Tremulations

11.11 Alisa Berger - RAPTURE (to be confirmed)

9.12 Doireann OMalley -Conversations on a Crosstown Algorithm

13.1 Bethan Hughes - Elastic Continuum

27.1 Rindon Johnson - Best Synthetic Answer

Für die Teilnahme bitte diesem Workspace beitreten.

Alisa Berger was born in 1987 in Makhachkala, Republic of Dagestan, and raised in Lviv, Ukraine. She studied film and fine arts at the Academy of Media Art Cologne (KHM) and at the Universidad Nacional de Colombia Bogotá. With her diploma film and fiction feature debut, ‘The Astronauts' Bodies’, she was nominated for the Max Ophüls Prize and for the FIRST STEPS Award of the Deutsche Filmakademie. She was also the recipient of the Best Film Award for New Directors at Int. Film Festival Uruguay and the Screenplay Award of H.W. Geißendörfer.

Alisa Berger creates films and installations, often in a collaborative process, that are accompanied, created, changed or destroyed within performative interventions. She has had solo exhibitions at Seoul Art Space Geumcheon (Seoul), HMKV (Dortmund), or PATARA Gallery (Tbilisi) and participated in many group shows like the Museum Biennale (Krasnoyarsk), Kindl – Center for Contemporary Art (Berlin), KAI 10, Arthena Foundation (Düsseldorf), MMOMA - Moscow Museum of Modern Art (Moscow) or the BACC Bangkok Art & Culture Center (Bangkok).

Since 2011 she has collaborated with Lena Ditte Nissen under the name bergernissen. She is co-founder of the international film production company FORTIS FEM FILM, which dedicates its work to increasing the visibility of women and their stories in film. Additionally, Berger works in sound performance and hosts a monthly show on dublab.de as a DJ.

Doireann O’Malley is an Irish artist based in Berlin. Their research-led practice explores the intersections of collaborative methodologies, meditative and visualization practices, writing, and auto-theory. Working primarily with film, virtual reality, artificial intelligence, 3D, and video installation, O’Malley’s work investigates the porous boundaries between technology, embodiment, and transformation.

O’Malley was shortlisted to represent Ireland at the Venice Biennale in 2024, longlisted for the Preis der Nationalgalerie in Berlin in 2021, and received the Berlin Art Prize in 2018. They have been awarded numerous grants and fellowships, including Künstlerische Forschung (Berlin Senate, 2020–2021), Stiftung Kunstfonds, the Edith-Russ-Haus Award for Media Art, and the Arts Council of Ireland’s Next Generation and Bursary Awards.

O’Malley has held teaching and mentoring positions including Guest Professor on the MFA at ZHdK, Zurich (2020–2024); Professor of Gender & Space at the Akademie der bildenden Künste, Vienna; and Guest Mentor for the Live Art MA at AdBK Nürnberg (2021). They were also a fellow of BPA // Berlin Program for Artists (2019–2020).

Their work has been exhibited and presented internationally at institutions including the Goethe-Institut Dublin; The Granary Theatre / National Sculpture Factory, Ireland; the Irish Museum of Modern Art (IMMA), Dublin; Art Institute Basel, Switzerland; Biennale Zielona Góra, Poland; Goethe-Institut Montreal and New York; Neuer Berliner Kunstverein (n.b.k.), Berlin; Göteborg International Biennial for Contemporary Art, Sweden; Mumok Kino, Vienna; Dublin City Gallery The Hugh Lane; KW Institute for Contemporary Art, Berlin; the Berlin Art Prize exhibition (2018); and the Edith-Russ-Haus für Medienkunst, Oldenburg.

Bethan Hughes creates audio-visual installations, sculptures and publications that explore social architectures and their aesthetic dimensions. Interweaving archival research and speculative narratives, she examines the unnatural ecologies generated through industry, commerce and technology.

Her work has been exhibited at venues including LABoral Centro de Arte y Creación Industrial, Gijón (SP), gnration, Braga (PT), Kunstpavillon, Innsbruck (AT), nGbK, Berlin (DE), Ars Electronica, Linz (AT), Haubrok Foundation, Berlin (DE), and HAUNT/frontviews, Berlin (DE). In 2023, she was a European Media Art Platform fellow and in 2024, she completed an Art & Ecology residency at the Museums Quartier in Vienna.

In 2025, she published her first monograph with K. Verlag, Berlin. Titled Elastic Continuum, it traces the material and symbolic transformations of a rubber-containing plant known as the Kazakh or Russian dandelion.

In 2025, she published her first monograph with K. Verlag, Berlin. Titled Elastic Continuum, it traces the material and symbolic transformations of a rubber-containing plant known as the Kazakh or Russian dandelion.

Rindon Johnson is an artist and poet. He has based his work in language. Johnson has presented solo exhibitions at Chisenhale Gallery (London), The Julia Stoschek Collection (Düsseldorf), the Rockbund Art Museum (Shanghai) and the SculptureCenter (Long Island City) among others. In 2024, Johnson was invited to the 60th Venice Biennale curated by Adriano Pedrosa, “Foreigners, Everywhere.” Johnson has participated in group exhibitions at the Brooklyn Museum, Kunstverein Freiburg, The Hammer Museum, Migros Museum für Gegenwartskuns, The Whitney Museum, The Studio Museum in Harlem, Literaturhaus Berlin, Haus der elektronischen Künste, Basel among others. He is the author of Nobody Sleeps Better Than White People (Inpatient, 2016), the VR book, Meet in the Corner (Publishing-House.Me, 2017), Shade the King (Capricious, 2017) and The Law of Large Numbers: Black Sonic Abyss (Chisenhale, Inpatient, SculptureCenter 2021). He was born on the unceded territories of the Ohlone people, San Francisco, he lives in Berlin, Germany.

Annika Larsson is an artist working within the field of Time Based Media. Her work examines the entangled relationship between power, knowledge, embodiment, affect and visuality within our digital and physical worlds. Engaged with the potential of (human and non-human) queer performativity, she is interested in gestures, rituals and actions, as well as patterns of behaviour that obscure or challenge power structures. Her video, sound and computer-based works, installations, and performances have been exhibited in international solo and group exhibitions at institutions such as Museum für Gegenwartskunst, Basel; Kunsthalle Nürnberg; ICA – Institute of Contemporary Art, London; Fundacion la Caixa, Barcelona; S.M.A.K., Ghent; Museo d’Arte Contemporanea di Roma (MACRO); Le Magasin, Grenoble; Fridericianum, Kassel; Museum of Modern and Contemporary Art, Bogotá; Museo de Arte Contemporáneo de Monterrey and 21st Century Museum of Contemporary Art, Kanazawa. She has participated in several biennials and festivals, such as the 49th Biennale of Venice and Forum Expanded – 61st Berlin International Film Festival, and has been awarded numerous stipends and awards for her work. Between 2018-2022, Larsson led the artistic research project NON-KNOWLEDGE, LAUGHTER & THE MOVING IMAGE, which was funded by the Swedish Research Council and done in collaboration with the Royal Institute of Art in Stockholm and the HFBK - Hochschule für Bildende Künste Hamburg. Since October 2024, Larsson is Professor for Time Based Media at Muthesius Kunsthochschule in Kiel. She lives in Berlin.