Kunstverein Bielefeld

09/10/2026

Artist Talk
10.10.2026, 12:00 Uhr I 12 pm

Christian Naujoks

Kannst du hören, wie du hörst?
Die Bewegung deines Trommelfells?
Das Flirren mikroskopisch kleiner Härchen?
10.10 – 20.11.2026

Wir freuen uns auf den Artist Talk mit Christian Naujoks am 10.10.2026, 12:00 Uhr im Rahmen seiner Einzelausstellung im Kunstverein Bielefeld.

Christian Naujoks künstlerische Arbeit bewegt sich zwischen Musik, bildender Kunst und künstlerischer Forschung. Er entwickelt Arbeiten, die den Vorgang des Hörens in seiner Fragilität adressieren und Körper und Klang als prozessuales Ereignis erfahrbar machen. Dabei versteht der Künstler Komposition als ein erweitertes Arbeitsfeld, in dem sich räumliche und soziale Vorgänge in unterschiedlichen Medien und Situationen entfalten. Seine interdisziplinäre Arbeitsweise umfasst Soundinstallationen, Film, grafische und textuelle Notationen, skulpturale Arbeiten, Musikstücke sowie partizipative und performative Setzungen.

EN

Christian Naujoks

Can you hear yourself listening?
The movement of your eardrum?
The fluttering of the tiniest of hairs?

We look forward to the Artist Talk with Christian Naujoks on 10 October 2026 at 12 pm, as part of his solo exhibition at Kunstverein Bielefeld.

Christian Naujoks’ artistic practice moves between music, visual art, and artistic research. He develops works that address the fragility of hearing and disclose experiences of body and sound as processual events. In this context, the artist approaches composition as an extended field in which spatial and social processes unfold across different media and situations. Naujoks’ interdisciplinary practice encompasses sound installations, film, graphic and textual notations, sculptural works, musical compositions, as well as participatory and performative settings.

01/09/2026

Many thanks to Miriam Stoney for her reading of „Four Distinct Parts“ on Sunday, 5 July 2026, 4 PM at Kunstverein Bielefeld, that took place as part of the exhibition „read to/for | I read to sense the doubling of time“.

Engaging „Four Distinct Parts“, a text developed in dialogue with the installation „Standing Her Lap Disappears“, Stoney unfolds a narrative that reflects reading as a corporeal-psychic practice. The structure of the text follows the composition of the installation, which is organised along the artist’s bodily axis into four strata: feet, pelvis, chest, and head. In accordance with this structure, a narrative emerges in which the personal objects composed within the installation are condensed into textual and narrative details. Drawing on psychoanalytic, literary, and art-historical references, as well as personal observation, the act of reading itself becomes a bodily-affective space in which resonance, difference, and conflict generate a rhythmic movement between desire, attention, and distraction.

Miriam Stoney is an artist, writer, and translator who lives in Vienna. Stoney develops collaborative working methods within the overall framework of an expanded writing practice. Her work transposes artistic writing into three-dimensional contexts, incorporating performance, audio, and installation works.

The exhibition read to/for | I read to sense the doubling of time is conceived as a site of production and experimentation in which installative constellations, readings, and performances enter into shifting relational configurations. The invited artists develop both installation-based and text-based contributions, which are presented in readings throughout the duration of the exhibition. The project is curated by Victoria Tarak.

The project is funded by Stiftung Kunstfonds & Federal Government Commissioner for Culture and the Media (BKM) & Kunststiftung NRW

25/08/2026

Warm invitation
Readings by Luzie Meyer, Anna R. Winder, and Karolin Meunier on 6 September 2026 at 3:00 pm, taking place as part of the current exhibition read to/for | I read to sense the doubling of time at Kunstverein Bielefeld

Anna R. Winder
I sometimes think of her as a spider

Anna R. Winder reads from a text in progress that chronicles her own amateur detective-researcher endeavors, drawing on the anecdote as a mode of inquiry. Following the search for a photograph known only through hearsay, allegedly published in Pl***oy sometime between 1969 and 1981, the text evokes fictional characters engaged in similar pursuits: Hazel Brown from Lisa Robertson’s The Baudelaire Fractal, Janine Dakyns from W. G. Sebald’s The Rings of Saturn, Charles Kinbote from Vladimir Nabokov’s Pale Fire, and Daniel Quinn from Paul Auster’s City of Glass, among others. They are detective-researcher-authors whose passions for their investigations ultimately outgrows the bounds of their work.

Karolin Meunier
Translation Scenes

Karolin Meunier will present her artist book Commentaries. Vai pure, Carla Lonzi, which is currently being published by b_books.

The work is based on Meunier’s engagement with a text by the Italian art historian and feminist Carla Lonzi: In Vai pure (Milan, 1980), Lonzi published a conversation with her partner, the artist Pietro Consagra. Building on the question of how to translate a book written in a language she does not speak, Meunier creates a space in which translation is recognized as a dialogic practice and initiates a polyphonic conversation with other contributors. Reading, listening, transcription, and editing thus become aesthetic practices of transmission through which the text of Vai pure is newly approached in an ongoing process of exchange. At the same time this process offers different perspectives on the historical context of Lonzi’s writing, raising questions about art, productivity, recognition, and feminism today.

The project is funded by Stiftung Kunstfonds, Federal Government Commissioner for Culture and the Media (BKM), and Kunststiftung NRW.

21/08/2026

Luzie Meyer
Trauerspiel
performed by Leila Gray
4. September 2026
7:00 PM

The performance Trauerspiel, created by Luzie Meyer, draws on the artist’s interest in the genre of the German tragic drama. The work engages with German history, grief, and the question of a presentness of Baroque modes of thought and action today. Based on an understanding of history as a process marked by ruptures, shifts in power, and political crises, the performance combines personal fictions with references to Daniel Casper von Lohenstein, Andreas Gryphius, and Margarete Mitscherlich’s Die Unfähigkeit zu trauern —a psychoanalytic reading of how experiences of guilt and loss are processed, as well as their aftereffects on the social consciousness of postwar Germany.

Trauerspiel was commissioned by the Kunstverein für Mecklenburg und Vorpommern in Schwerin and premiered there in June 2026 – supported by Kemmler Foundation. The performance at Kunstverein Bielefeld is closely linked to the installation that Luzie Meyer developed for the exhibition read to/for | I sense the doubling of time at the Kunstverein, whose site-specific references are incorporated into the performance.

Photo: Luzie Meyer, Trauerspiel, Kunstverein für Mecklenburg und Vorpommern in Schwerin, 2026. Foto: Luzie Meyer, 2026

04/08/2026

Anna Budniewski
Hinter den wilden Gesten steckt nix Weiches, 2026
Read by Anna and Eva Budniewski
Costumes by Christina Budniewski

As part of her contribution to the group exhibition read to/for | I sense the doubling of time, her multi-part installation is accompanied by a performative script resulting from a collaboration between Budniewski and the curator Victoria Tarak. Drawing from research into Galerie Schmela, founded in Düsseldorf in 1958 and renowned for its avant-garde exhibition programme and transatlantic networks within the art world, the script engages with archival correspondence as spaces of social, economic, and affective entanglements within artistic production. Following Alfred Schmela’s death, the gallery was continued by Monika and Ulrike Schmela, whose work further shaped its legacy. The script investigates correspondence from the archive as a site of social, economic, and affective entanglements within artistic production. As the product of artistic research, the work intertwines historical voices, institutional structures, and lived experience in speculative and sometimes defiant narrative movements. In this way, it creates a poetics of feminist writing which thematizes archives as linguistically performative material, available for activation.

Anna Budniewski lives and works in New York. Her artistic practice combines installation, text, and sculpture, among other media, to examine the conditions under which meaning, va­lue, and visibility are produced. In doing so, she is interested in how the material and linguistic infrastructures of art production, and how they can generate artistic authorship.

The project is funded by Stiftung Kunstfonds & Federal Government Commissioner for Culture and the Media (BKM) & Kunststiftung NRW.

Photo: Leo Teufel

25/07/2026

Anna Budniewski’s artistic practice combines installation, text, and sculpture, among other media, to examine the conditions under which meaning, value, and visibility are produced. In doing so, she is interested in how the material and linguistic infrastructures of art production, can generate artistic authorship.The multi-part work she has developed for the Kunstverein unfolds as a mixed-media installation, thematizing both the exhibition space as a semiotic system as well as the entanglements of art, value, and the market. Cardboard structures with white-painted surfaces, a bench integrated into the material structure, and transparent support media create a situation which oscillates between display, model and stage. The installation appears as a sketch-like tracing of institutio-nal spaces and the props used in those spaces.

The works are part of the exhibition “read to/for I I read to sense the doubling of time”.The exhibition is conceived as a site of production and experimentation in which installative constellations, readings, and performances enter into shifting relational configurations. The invited artists develop both installation-based and text-based contributions, which are presented in readings throughout the duration of the exhibition.

The project is funded by Stiftung Kunstfonds & Federal Government Commissioner for Culture and the Media (BKM) & Kunststiftung NRW.

Installation views, read to/for | I read to sense the doubling of time, Anna Budniewski, Kunstverein Bielefeld, 2026. Courtesy der Künstlerin | of the artist
Photo: Fred Dott

27/06/2026

We warmly invite you to a reading by Miriam Stoney, Four Distinct Parts, on Sunday, 5 July 2026, 4 PM at Kunstverein Bielefeld, taking place as part of the exhibition read to/for | I read to sense the doubling of time.

Engaging Four Distinct Parts, a text developed in dialogue with the installation Standing Her Lap Disappears, Stoney unfolds a narrative that reflects reading as a corporeal-psychic practice. The structure of the text follows the composition of the installation, which is organised along the artist’s bodily axis into four strata: feet, pelvis, chest, and head. In accordance with this structure, a narrative emerges in which the personal objects composed within the installation are condensed into textual and narrative details. Drawing on psychoanalytic, literary, and art-historical references, as well as personal observation, the act of reading itself becomes a bodily-affective space in which resonance, difference, and conflict generate a rhythmic movement between desire, attention, and distraction.

Miriam Stoney is an artist, writer, and translator who lives in Vienna. Stoney develops collaborative working methods within the overall framework of an expanded writing practice. Her work transposes artistic writing into three-dimensional contexts, incorporating performance, audio, and installation works.

The exhibition read to/for | I read to sense the doubling of time is conceived as a site of production and experimentation in which installative constellations, readings, and performances enter into shifting relational configurations. The invited artists develop both installation-based and text-based contributions, which are presented in readings throughout the duration of the exhibition.

The project is funded by & BMK.

17/06/2026

22/05/2026

read to/for
I read to sense the doubling of time

Anna Budniewski, Christine Sun Kim, Brandon LaBelle, Karolin Meunier, Luzie Meyer,
Miriam Stoney, Anna R. Winder

30.05.2026 – 09.08.2026

Herzliche Einladung zur Eröffnung Freitag, den 29. Mai 2026, um 19:00 Uhr in den Kunstverein Bielefeld

Die Gruppenausstellung read to/for – I read to sense the doubling of time versammelt Arbeiten von Anna Budniewski, Christine Sun Kim, Brandon LaBelle, Karolin Meunier, Luzie Meyer, Miriam Stoney und Anna R. Winder und reflektiert in Verbindung mit dem titelgebenden Satz der Dichterin Lisa Robertson Lesen als ästhetische Praxis.
Robertson beschreibt Lesen als einen Raum zeitlicher Überlagerungen, in dem Bedeutung beweglich bleibt, sich verschiebt, sammelt und zugleich entzieht. Im Lesen kreuzen sich unterschiedliche Zeitlichkeiten: die Zeit des Textes, ebenso wie die Zeit der Lektüre, die sich im Vollzug des Lesens immer wieder neu aktualisiert. Lesen ist demnach auch immer ein Nachträglich- und Gleichzeitigsein. Unterschiedliche Zeiten und Seinsweisen stehen dabei nicht für sich allein, sondern geraten in Schwingung, in Differenz und Nachhall und bilden eine rhythmische Bewegung.

So ist Lesen immer auch ein Hören im Kopf – ein innerer Takt mit eigenem Tempo, Pausen und Wiederholungen, der den Leseakt als auditive Praktik prägt sowie als multisensorische Erfahrung reflektiert.

In diesem Zusammenhang eröffnet die Ausstellung die diesjährige Auseinandersetzung des Kunstverein Bielefeld mit dem Sinnesorgan „Ohr“ und dessen Verbindung zum Lesen und Formen des (Zu-)hörens.

Die Ausstellung versteht sich als ein Produktions- und Experimentierraum, in dem installative Setzungen, Lesungen und Performances in wechselnde Konstellationen treten. Die eingeladenen Künstler:innen arbeiten jeweils mit Text als Bestandteil ihrer Praxis und verbinden Lese- und Schreibpraktiken mit Installation, Video und Sound.

Design: Max Schropp

Projektförderung/ Supported by:

Kunststiftung NRW und Stiftung Kunstfonds

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