Magnus Elias Rosengarten

  • Sandra Mujinga, I Build My Skin With Rocks, 2022, HD video on LED wall, color, sound, 1 hour 28 seconds.

    Sandra Mujinga

    Sandra Mujinga’s “IBMSWR: I Build My Skin With Rocks” functions as a portal into worlds beyond those prescribed by Western ideologies. The installation from which the exhibition takes its title occupies the upper half of Hamburger Bahnhof’s Historische Halle with a twenty-nine-by-thirteen-foot screen that extends across the front of a huge black wooden sculpture. It shows footage of a hybrid creature that gradually morphs in free-flowing movements from humanoid to abstract and pixelated stonelike patterns. An accompanying soundscape composed by the artist fills the space with solemn acoustics.

  • View of “Whose Expression? The Brücke Artists and Colonialism,” 2021–22. Photo: Roman März.

    “Whose Expression? The Brücke Artists and Colonialism”

    “Whose Expression? Die Künstler der Brücke im kolonialen Kontext” (Whose Expression? The Brücke Artists and Colonialism) is a didactic show. The exhibition aims to shed new light on key members of the German artist collective Die Brücke, which was formed in 1905 in Dresden. The group, which included Erich Heckel, Ernst Ludwig Kirchner, Emil Nolde, Max Pechstein, Karl Schmidt-Rottluff, and others, was eager to break away from the stultifying curricula of the art academies and the rigid bourgeois social norms of the era. Characterized by angular and rather coarse abstract shapes and employing a

  • Rory Pilgrim, Sacred Repository N. 3: The Open Sky, 2016, drawings, HD video (color, sound, 29 minutes 30 seconds). Installation view.

    Karrabing Film Collective and Rory Pilgrim

    Western “timing” is a powerful machine: Its clock is set to structure life, love, work, relationships, money, and bodies. Karrabing Film Collective, based in the Northern Territory of Australia, see things differently. Their installation Kaingmerrhe (Sun) and Penidjebhe (Star) Futures, 2021, gobbled up its surroundings and thereby pointed to a wider space-time continuum. Placed on the floor of the foyer of Kunstverein Braunschweig’s neoclassical building, the work consisted of vintage pharmaceutical bottles, arranged as celestial bodies, as its title suggests. According to the collective’s