Installation Schicksalsfäden beim großen Waldtag am Schlüchtsee

Installation Schicksalsfäden beim großen Waldtag am Schlüchtsee

Das Schwarzwaldhaus der Sinne lädt im Rahmen der Aktion "Wipfelwärts" zum ersten Großen Waldtag am Schlüchtsee ein. Zahlreiche Aktionen und Stände warten auf dem Schlüchtseezeltplatz und im umliegenden Wald zur Neuentdeckung des Waldes ein. Beteiligte sind unter anderem der Wildtierfotograf Klaus Echle, der Biologe Prof. Dr. Hansjörg Küster, der Revierförster Friedrich Hugel, die Künstlerin Hannah Kindler, die NABU-Ortsgruppe sowie die Yoga-Lehrerin Martha Übelacker.
Eine Anmeldung ist nicht nötig, die einzelnen Workshops und Führungen finden auf Spendenbasis statt!
Das Programm ist unter zu finden.

Die interaktive Installation “Schicksalsfäden” entstand zum Anlass des Waldtages welcher vom Schwarzwaldhaus der Sinne  veranstaltet wurde. Die interaktive Installation besteht aus einem Geflecht von Fäden welches Netze bildet und drei Figuren die wie Marionetten bewegt werden können. Das Werk setzt sich mit dem Thema `Spinnen des Schicksalsfadens´ auseinander. In Anlehnung an die drei Nornen, die drei Schicksalsgöttinnen aus den Nordischen Mythologie die das Schicksal der Menschen Spinnen und Weben lädt die Installation dazu ein einen Moment still zu stehen und den eigenen Lebensfaden genauer zu betrachten. Die Schicksalsgöttinnen Vergangenheit Gegenwart und Zukunft, die damit die Zeit selbst verkörpern, verweben die Menschen durch ihr Handeln miteinander. Die Verknüpfungen die durch unser Handeln in der Vergangenheit entstanden sind, befreien uns nicht davon im hier und Jetzt und in der Zukunft eigenverantwortlich zu Handeln. Das Kunstwerk will in Kombination mit Workshops auf spielerische und kreative Weise dazu anregen, sich Gedanken darum zu machen, wie man seine eigene Zukunft gestalten möchte. Durch den Blick in die Vergangenheit können Handlungsoptionen für das Hier und Jetzt gemacht werden.


Presentation of Handmade Indigo Scarves at Caspicum Amsterdam

Presentation of Handmade Indigo Scarves at Capsicum Amsterdam

We would like to invite you for the presentation of hand-woven and hand-dyed indigo scarves made by Hannah Kindler.
The shop window of Capsicum will also show the scarves and drawings of the process and will be on view from the Saturday 30st June till Sunday 23rd July. It would be a pleasure to meet you on the 1st of July at Capsicum!

Background information:
The indigo scarves are part of the artist Hannah Kindler´s long-term material research into how labour imprints itself on bodies, the environment, into social interactions, the economy, the globalization process and more. How do you deal with the things you are making, with yourself, the people and the environment around you? How is this attitude contained in the objects and what kind of relationships do the objects create? With these kinds of questions in mind, Kindler investigates historical, contemporary, economic, aesthetic, geographical and social phenomena surrounding the usage and production of textiles. The search for a different way to live and work together led Kindler to the experimental township Auroville, India, where she produced the indigo scarves. Auroville hosts around 2000 people from over 30 countries around the world, who work towards the realization of a united humanity. In Auroville Kindler collaborated with Upasana and Colours of Nature, two companies who are part of the community there. Kindler was interested in producing an environmentally friendly product with this `Utopian´ community and starting a conversation about alternative ways of production within the textile industry.

The scarves are made of 100 % organic cotton, which is hand spun and handwoven locally and dyed with natural and traditional indigo dye. The use of cotton and indigo refers to a long textile and trade history between India, Holland and many other countries. The pattern is based on checks, a classic motif found in many cultures around the world. The choice of three very different dyeing techniques, however, namely shibori, clamping and block printing, creates three very different materializations of checks. In opposition to products of mass production, the scarves emphasize coincidence and imperfection and thus sketch a counterproposal for methods of production.
The textile pieces serve as research as well as a means of representing structures and forms of relations. They are a material exploration of the relations between the conditions of production, the social relations and the objects produced by a society. The wearing of the scarf can be seen as a continuation of the spinning of this Utopian tale.


Collective Story Writing at Museum Night Amsterdam

Collective Story Writing at Museum Night Amsterdam

Come and join the Collective Story Writing at the MUSEUM NIGHT in AMSTERDAM HEESTERVELD!
Artists Jenela Kostova and Hannah Kindler are inviting you for a cup of hot chocolate with rum in exchange for your story!
Collective Story Writing is a way to collect the voices of people living, working or visiting Heesterveld. 
After the Museum Night the stories will be compiled as a book and presented during a book launch at Social Textile Studio.
Hope to see you there!

Kunstnacht Nijmegen


R&D Center of Value, Second Edition @ Kunstnacht Nijmegen

Together with Material Sense Studio Hannah Kindler will be in Kunstnacht Nijmegen! A performative moment will take place the evening itself and the exhibition in on view until the 2nd of October! Come and have a look!

TIME: Saturday 24 September 2016, 20:00 - 00:00; LOCATION: Expoplu, Paraplufabrieken, Van Oldenbarneveltstraat 63A

R&D Center of Value, Second Edition

How is the value of materials developing and how does it change over time? What does this value say about our time and our world view? Which beliefs and ideologies stand behind these values? What is the political agency of the objects we surround ourselves with? How do they influence our behaviour and our ethical decision making process? The work R&D Center of Value (R&D stands for Research and Development) is a collective knowledge production process and a visual questionnaire of the concept of value. Objects will be shown as a common starting point for reflection: What is the monetary, personal historical, social, ecological and usage value of the objects? What do these objects stand for and how do they act in our world? Can we, starting from what these objects mean in our world today, starting to imagine a different reality? Can we alter the meaning of the objects by entailing its socioeconomic existence? Can we start a process of future making with this methodology?


THANKS TO: Material Sense for the invitation and support!


R&D Center of Value at the Dutch Design Week

The work R&D Centre For Value - R&D stands for Research and Development - is a visual questionnaire of the concept of value. How does society construct value and how can a maker (designer/artist) have an influence on it? What is of value to us and how is value communicated? What does a packet of cigarettes, 500g of chicken and a H&M t-shirt have in common besides all costing five euros? What is the connection between our personal story and the value of the objects we surround us with? Visitors are invited to interact, frame and re-frame objects and thus become members of the researching staff. What happens when we present an old object in an appealing way? Can we up-value our own old stuff by reframing it? In her performative and participatory work, Kindler creates consciously lived moments which move between everyday life and art. She becomes the assistant of the R&D centre and engages with her public in a conversation and seeks to build a connection between herself and the other person by sharing personal experiences and memories about the meaning of value, thus creating new values. The conversation is to be seen as a form of self-reflexion, art, and networking. It is an exploration of the social process or, in the words of Joseph Beuys, the “social sculpture”. It is an engagement with each other and, above all, a personal experience. The following parameters are researched: economy, history, ecology, personal, pricing, marketing, use, exchange, ownership, personal and sensual experience, status, identity, socially-constructed traditions, everyday life, and life as Gesamtkunstwerk.

The Performative Installation is presented during the exhibition Future Footprints by Material Sense.


Material Sense for the invitation and support!





The Utopian Office will be shown during Frame Works / An exhibition by Els & Nel at Friday Next Gallery!

During Frame Works Hannah Kindler will search for an Utopian moment. Can someone’s presence be valued by mutual connection in a shared and meaningful moment? How are function and production of an (art) work connected in its meaning? Through a conversation she has with a person, she seeks to build a connection between herself and the other, and thus creates new values. The conversation is to be seen as a form of self reflexion, engaging with each other, as form of networking, social process, form of art or to speak in terms of Joseph Beuys, as Social Sculpture, and above all as personal experience. Such a moment can be experienced during the exhibition. You are warmly invited to register for a conversation during the consultation hours of the Utopian Office. This (performative) moment of a one-on-one conversation will take about 15 - 30 min. The subject will be prepared by the Office.


Els & Nel for the invitation and support!





The Utopian Office at the Rietveld Graduation Show

Can a moment be utopian? Can I value someone´s presence, connect with someone in a moment which we share and which is meaningful to us? Can I, through framing, be a facilitator for a personal experience or a social interaction without organising it? How is the function and the production of an (art) work connected in its meaning? The long term project Ways to Spaces or How to Create a Personal Utopia; A Research to use Utopia as Method to facilitate a Situation is an attempt to sketch a sphere, a space or a micro utopia. The title already gives a hint in different directions. Firstly, Ways to Space, describing a space as a process that is very fragile and fugitive, a space created with someone ́s thoughts and presence. Secondly How to Create a Personal Utopia which consists of two terms - maybe very contrary to each other – Personal, being very self-centred, Utopia - in philosopher Ernst Bloch´s sense - as the expressions of deep-seated desire and as a claim to change societal structures. The terms are connected with the verb Create which means “evolve from one’s own thought or imagination, as a work of art or an invention”. It is an open structure with regard to the use of every small step we take towards a utopian direction. The project has taken place during the last 12 months, is going to be continued, and consists of a series of consciously lived moments which move between the everyday life and art. The following parameters are researched: value, pricing, use, exchange, ownership, personal sensual experience, creativity as capital, power relations, bottom up approaches, real effect, status, sphere, space, utopia, socially constructed traditions, everyday life, life as Gesamtkunstwerk. One of the moments can be experienced at the graduation show where you can register for a conversation during the consultation-hours of the utopian office.

Object d´Art - The Value of Things to People at the Festival `What's the deal?´ in Munich

The work Object d´art - The value of things to people

by Moulsari Jain and Hannah Kindler

Hannah Kindler & Moulsari Jain share common ideas about artists questioning the status quo of our society, and challenging the way we live, and the things we accept as normal. Here, they collaborate to explore a common theme in their work and their lives: Value. What is it to different people, and who determines the scale of it? Are objects valued for the raw material that came from the earth, or are they valued for the human effort that went into making them useful objects, or even for the role they play in an individual’s life? And what happens when someone stops seeing the usefulness of an object, does it lose its value? The used, discarded objects are displayed as valuable pieces of art, acknowledging their existence and importance enough to be placed on a pedestal or in a frame. Their descriptions are the stories of the role they played in the lives and identities of the people that once owned them. The artists propose that these objects have a life and identity of their own, a story that involves the people who came across them and gave them purpose, but from whom they had to move on to the next phase of their lives, where they leave one owner in search of another. With them, however, they take their memories and experiences with their past owners forward into whatever future awaits them. Here, they pause to be acknowledged for their value, and all they have already added to the world by their existence. The artists re-evaluate the value of the physical objects in our lives, proposing this value system as a new and normal part of societal culture to aspire to, as a part of healthy living together on a planet we share and not just as disconnected individuals consuming and taking whatever we want from the earth.

About the Festival „What's the deal? - Moving Urban Cultures“ at Kreativquartier, Munich

What's the deal? is a multi-disciplinary project that wants to artistically explore sustainability in connection with young urban cultures such as mural art, design, urban sports (skateboarding, biking) and digital media. Between 2013 and 2015 five partners from four European countries (Germany, Netherlands, Austria, Slovenia) will collaborate across borders and organize a series of activities in all partner sites involving international artists: from theme-related mapping of the respective scenes via art intervention workshops to creative art work and installations (like bike art created entirely from sustainable materials or a skateable sculpture in an abandoned city area) - made visible in public events. The project aims to bring the idea of sustainable lifestyle to the young urban scenes in European cities. It wants to inspire them to create new perspectives and link them together transnationally, thus strengthening the multiculturally permeated urban scenes.





Wonder & Wander - Rietveld Academy in de Oude Kerk

The Rietveld in the Oude Kerk is a recurring event for 15 years, giving students the opportunity to present their work on a historic location. For selected students it is one of the first experiences with creating an exhibition. For visitors it is an unique insight into the world of the Gerrit Rietveld Academie and the Oude Kerk. Every year the ‘Rietveld in de Oude Kerk’- committee thinks up a theme for the exhibition. From April 10 to May 3 this year students presents performances, installations, videos and sculptures under the title wonder & Wander.

The theme of this years ́ exhibition is the col- lection of the Oude Kerk. What are collections? Who is the collector? How do we communicate the value of the objects in the collection? How do we define the world we want to live in through objects? For my work for the Oude Kerk I make a catalogue about the “collection of the Oude Kerk”, which is actually only a bunch of old and broken objects the Church does not want to throw away. These objects are quite useless and worthless yet I want to present them with a description as if they are valuable objects.I want to blend in true facts with made up stories for the description. Furthermore I would like to “perform value” by being present during the exhibition to sell” the official Oude Kerk collec- tion catalogue”, wearing the typical Oude Kerk employee clothes. Collecting describes the systematical search, acquisition and storage of objects and information. Just through the per- sonality of the collector the random objects be- come part of a story. But in the case of the Oude Kerk it seems there is no collector in the classi- cal sense, people working in the church simply collected objects they found valuable keeping. When I studied history I was told if someone is interpreting found objects from a certain centu- ry he is mainly telling something about the time he himself is living in. With the research about the collection I want, at the same time, find my own boundaries of objectivity.