andreas – KUKAV

teaser animation-installation 2025

andreas — Sun, 17 Aug 2025 14:42:02 +0000

Former light bulb factory Semrau

andreas — Sat, 16 Aug 2025 20:18:48 +0000

Schützenstraße 26/1

https://maps.app.goo.gl/MbTQXxuTkJL8CLSo9

Lina Walde und Alma Weber

andreas — Tue, 05 Aug 2025 14:32:15 +0000

Pendulum

Mapped video, 5:35 min

2025

“Pendulum” is a further development and new version of “a Petticoat”. The artist duo The Shna, consisting of Alma Weber and Lina Walde from Dresden, has created an interdisciplinary project called ‘A Petticoat,’ a collaboration of experimental music, animated cartoons and poetry, loosely based on the American writer and icon Gertrude Stein.

It was created as part of the Artist-in-Residence project at DIAF Dresden (German Institute for Animated Film).

Website

Insta

A Petticoat won the Saxon Prize for Pop Music in the category of interdisciplinary projects.

About Lina Walde und Alma Weber

Together they run the animation studio ANIMAUZ and together form the music duo The Shna.

Lina Walde works at the interface between experimental and applied art.

She is an animation filmmaker and illustrator, as well as curator for short film screenings at City Kino Wedding. She works in the fields of motion design, graphic recording and projection mapping for theatre productions. She is also a musician and sound artist. She has taught students in 2D animation and worked as a freelance lecturer at the Berlin University of the Arts and the Weißensee Academy of Art. Her current short film ‘Desert Critter’ is currently screening at numerous film festivals worldwide. She studied at the Kunsthochschule Kassel in the animation film and virtual realities classes with Martina Bramkamp and Bjørn Melhus.

Website

Insta

Alma Weber is a freelance animator and illustrator, and sometimes also a musician, living in Dresden.
Together with Mona Keil and Lina Walde, she is part of the studio ANIMAUZ.

Website

valo_valentino

andreas — Tue, 05 Aug 2025 14:25:15 +0000

PKW KIdoskop

Film, min, Car, kaleidoscope, screen

2025

An immersive art installation between memory, AI and kaleidoscopic trance

The PKW KIdoskop (PKW is german for passenger car) is a multisensory art installation housed in a silver Peugeot with tinted windows. The car no longer serves as a means of transportation, but becomes a stationary portal to another reality. Two visitors at a time can enter the interior of the vehicle – and immerse themselves in a kaleidoscopic landscape of thoughts.

Kulturkasten e.V. Kukav Tuttlingen Ausstellung

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exhibition view

Inside, the view through the windscreen is of an oversized kaleidoscope: a combination of painted glass, coloured light effects and fragmented shapes that are constantly changing. In the middle is a small screen showing an AI-generated video – a surreal journey through the ruins of my former studio, which has since been demolished. In this cinematic collage, a white rabbit floats through tunnels of reality, metaphors for change and dissolution. A symbol of transformation, memory and the ambivalent role of artificial intelligence in the creative process.

To complement the visual experience, the car radio plays an AI-generated blues rock album composed by valo_valentino especially for this project. The music pays homage to the former container city at Stuttgart’s Nordbahnhof – a place of art, resistance and transience. Visitors can purchase the album on site for a small fee if they wish.

The PKW KIdoskop is an installation, music room, shrine to memory and vision of the future all at once. It invites visitors to explore the fault lines between the analogue past and digital imagination – and to embark on a journey in which the interior space and inner world merge.

About valo_valentino

Valo’s artistic practice bridges the fields of visual art, music, cultural history, cybernetics, environmental phenomena and poetry.

His current works range between analogue and digital media, between marble and code, between drawing and light, installation and collaboration.

Website

insta

Cecile Giovannini

andreas — Tue, 05 Aug 2025 14:23:04 +0000

L’isola che non c’é

“L’isola che non c’è” takes its name from the Italian version of the original Peter Pan story by James Matthew Barrie.

“L’isola che non c’è” is the first project developed by EvraKedebra, Cecile Giovannini’s micro production company. It was conceived as an immersive and evolving narrative experience—an ode to fiction and to the works that fueled her imagination. Designed as a memory palace, this installation overflows with pop culture references, from Mary Blair to psychedelic rock, including nods to Disney’s famous Haunted Mansion. The characters inhabiting this universe evoke memory and intimacy.

From the very entrance of the exhibition, visitors are immersed in a dreamlike atmosphere inspired by cinematic sets. A path unfolds through various “stations,” allowing each visitor to construct their own story by assembling the narrative clues presented. Each object is interactive, creating a tangible connection with the work. Interactions vary in complexity: pressing a phone to hear a story, opening a suitcase to reveal an animated image, or interacting with a mirror that uses facial recognition.

At the end of the journey, an old book found at a flea market has been manually altered. Illustrative elements have been added to give it the feel of a vintage fairy tale. When opened, a few pages turn to reveal a touchscreen, offering access to a digital, alternate version of the space the visitor is in. This digital version—both playable and contemplative—lets users click on objects to unlock audio tracks or animated GIFs. The link between the digital/virtual and the analog/painted parts is made possible through a strong visual identity. Even when an object is fully technological, it retains a hand-made, painterly feel. Each element’s design is based on sketches and preparatory work created beforehand.

Kulturkasten e.V. Kukav Tuttlingen Ausstellung

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At the end of the first public showing, a hidden trapdoor opens in the digital version, granting access to a new alternate version of the installation, created using augmented 360° capture (which is where we are now). This version also contains glitches and additional clues.

Thus, the virtual and the physical complement each other, allowing a wide audience to access the artistic experience without geographical limitations. The physical installation—designed to travel and evolve—can be moved from place to place, with exclusive improvements and objects (both physical and virtual) added to each new presentation. Each physical version can be documented, transformed into an audiovisual work, and added as a new gateway into this expanding universe.

About Cecile Giovannini

Cecile Giovannini is a visual artist who shares her life between Italy and Switzerland. Her work explores the power of fiction and its ability to extract and magnify the marvelous within reality. Cecile’s imagination has been shaped by family stories, pagan legends, Catholic imagery, cinema, and the forest where she grew up. The art of fiction serves as a means to construct a unique space where invented elements and familiar characters, often female, intertwine. It’s a space where fears and other emotions materialize as fantastical creatures or vibrant atmospheres.

Although painting is her preferred medium, Cecile’s artistic universe extends far beyond, expressing itself through various forms such as rotoscoping (a technique involving painting over elements in a filmed sequence), traditional animation, installations, interactivity, and collaborative projects. Indeed, in recent years, she has undertaken projects that require teamwork, including lighting design, text production, special effects, sound, new technologies, and set design. She views collaborative creativity as a way to build a shared memory through art.

Her work is showcased in museums, art centers, festivals, in Switzerland, Italy, Germany, online, and even in Canada. She has published several illustrated stories in collective works in Switzerland and England. She collaborates with numerous musicians, ethical brands, and other clients worldwide. She is a member of Avocat Studio, the founding association of the cultural and experimental center Villa Mirage, located in the former aluminum factory in Martigny, Switzerland.

Website

Gianluca Iadema

andreas — Tue, 05 Aug 2025 14:22:44 +0000

from, maybe to: prelude

2024

audiovisual sculpture, for 1ch video (6’00”), 2ch sound and sculptures, for aluminium bars, piano components, oxidized copper and shadow.

From, maybe To: Prelude is a 3D-animated audiovisual short film that explores memory through the fictional transformation of a single object: the piano. The film begins with a photogrammetric model of a piano that suddenly explodes, initiating a visual and conceptual journey into the unknown. What was once a familiar instrument dissolves into a fragmented landscape, suspended in a dimension beyond time and space.

As the remnants float and shift, the piano is reimagined as an interior world, an abstract terrain shaped by absence and possibility. Slowly, its components begin to reassemble, not with the intention of returning to their original form, but as if guided by an intelligence unfamiliar with the object’s original purpose. In this reconfiguration, the piano reveals itself to be more than a musical instrument—it becomes a fictional machine designed to store human memories. Through this transformation, Prelude explores how meaning emerges from fragmentation, how memory can shape space, and how objects can carry the weight of forgotten narratives. The work unfolds like a dream, where the logic of time collapses and recognition comes only at the end, when the viewer realizes they are witnessing not just a reconstruction, but the birth of a new, speculative entity.

About Gianluca Iadema

Gianluca Iadema (b. 1996, Italy) is a composer, visual artist, and performer working with a transdisciplinary approach to music, video, and installation. His research-driven practice is informed by technology, architecture, and philosophy. He holistically explores sound, image, sculpture and light resulting in works straddling the categories of music, film, and installation art.

Through a conceptual lens, he explores themes of materiality and imperfection. He uses speculative narratives to subvert conventional meanings of objects and their interpretations. Within this ambiguity his work opens space for the imaginal and invites the observer into an open-ended, multi-sensorial exploration where discovery itself becomes the essence of the artwork.

In terms of sound, he focuses on the abstraction of different musical styles, such as techno, glitch and pop music, merged with contemporary classical concepts.

Website

Roman Wolter

andreas — Tue, 05 Aug 2025 14:22:18 +0000

Chremaskop

Mechanical money counter, banknote-sized images

2025

The Chremascope is based on a banknote counter. This device, originally designed for financial transactions, is being used for a different purpose: at a speed of 1,000 notes per minute (16.6 frames per second), it transports printed animation sequences into a flickering image.

Exhibition view

The term chremascope is a neologism derived from the Greek terms chrēma (money, property) and skopein (to see, to look at).
The installation is intended as an ironic ready-made – a functional machine used in an unusual context to display motion studies. The audience views pre-produced animations that have been specially designed for this mechanical image reproduction and prepared as stacked paper sequences. The paper stacks are inserted into the device by the viewers themselves. The money counter is presented on a simple, functional stele or similar pedestal, creating a viewing situation reminiscent of Thomas Edison’s early kinetoscopes: the audience leans over the device and looks into a kind of mechanical peep box.

Kinetoscope by Edison

About Roman Wolter

Roman Wolter studied Integrated Design at the University of the Arts Bremen – influenced by the tensions between the Ulm School of Design and the New Frankfurt School. Between product design and illustration, between art and design, between dogma and anarchy.

In moving images, he finds the framework to channel different influences, inclinations and forms of expression. Roman Wolter sees himself as an interdisciplinary border crosser. Since 2010, he has been working as a motion designer and art director in the applied field, designing title sequences, explainer videos and product films. In his commercial work, he always strives for artistic control in all phases of production – an approach that places him more in the tradition of auteur cinema than in the classic service logic of the industry.

In his freelance work, Roman Wolter reflects on the moving image itself. He breaks with conventional narrative structures and seeks out unusual formats to leave the screen behind – whether through projection mapping, interactive elements or the use of analogue techniques. His goal is to shed the serenity of film and animation and open up new perspectives: for himself and for the audience.

Website

Ines Fiegert and Michael Kibler

andreas — Tue, 05 Aug 2025 14:21:40 +0000

In suspension

Three video projections, including one animated film, light, glazed ceramics, textiles, cast resin, silicone and latex, liquids

2025

In Suspension confronts viewers with a body that defies clear classification: neither dead nor alive, neither clearly organic nor purely mechanical. The installation brings viewers into almost clinical proximity to a fragile system of material and meaning – an image of the body that appears both familiar and alien. In a present in which biotechnological interventions are becoming commonplace and the boundary between natural life and artificial preservation is increasingly dissolving, the work raises pressing questions: What do we keep alive – and why?
When does an intervention begin, and when does it become a construction? This work invites not only contemplation, but also commentary – between empathy and unease, between fascination and doubt.

Ausstellungsansicht

About Ines Fiegert

Ines Fiegert on her work: “Where does the natural end and the artificial begin? This question runs through my work like a red thread – literally. In my groups of works, natural processes and man-made systems encounter each other, intersect, interpenetrate and interweave. They are not opposites, but parts of a common fabric that affects us all. The thread is much more than a motif – it is a carrier of meaning, symbol and structure at the same time. As a line, knot or net, it refers to archaic narrative forms, myths, stories and cultural patterns that we have woven over centuries. This narrative dimension forms the heartbeat of my work: they combine surreal elements with real questions about our relationship to the natural world – materially and metaphorically.
The works invite us to question what we take for granted: our environment, our systems, our role in them. At a time when ecological and social structures are under equal pressure, the net appears as a powerful image. It symbolises connectedness and dependence – but also fragility.
Like this, the thread becomes the bearer of a silent but powerful message: everything is connected. What we do, what we create, what we destroy – it all has an impact on the whole. The boundary between nature
and culture, between humans and the environment, is fluid. And perhaps it is precisely this realisation that offers a new perspective – not only on art, but also onourselves.
These works want to be seen, felt and read – as an invitation to lose oneself in the web of meanings and discover new connections in the process.”

Website

About Michael Kibler

Michael Kibler studied product design and contextual design in Schwäbisch Gmünd, Lillestrøm and Eindhoven.
He lives and works as a designer in Winzingen.
Projects and installations with Ines Fiegert.
Works exhibited at MoMA, New York and Galerie Tabak, Renquishausen.

Johanna Mangold and Sarah Huber

andreas — Tue, 05 Aug 2025 14:20:57 +0000

NEXUS PLEXUS

Wooden construction, small sculptures, video 12:38 min, animation, sound

2024

The wooden object, which resembles a game board with its carved lines, pencil drawings and arrangement of lines and symbols, is populated by a multitude of small sculptures. The lines and symbols represent the nodes of a network through which the objects, as embodiments of various archetypes and states of consciousness, enter into symbolic interaction and depict various processes of consciousness.

The video shows various sequences, including performative elements, as well as 2D and 3D animations, which combine to form a collage-like composition. This is accompanied by analogue synthesiser compositions and spoken text.

NEXUS PLEXUS plays with simulation theories, such as those of physicist Thomas Campbell, which state that we are avatars in a reality created by a higher consciousness, and also shows various actions reminiscent of rituals or games as a way of anchoring oneself in this world or making contact with another, inner world.

The work reflects how layers of time, states of consciousness and symbolic realities can converge, overlap and condense in one place. The place is not understood as a static space, but as a hub, a dynamic network of meanings, interactions and transformations within a non-linear flow of time. A place of timelessness, where strategies for development and occupation, as well as reorganisation, are developed and passed on. It is the place where the creative spirit has a home, which connects us and in whose matrix intention and transformation combine to form a loop.

NEXUS PLEXUS moves between science, magic and science fiction, inviting viewers to playfully adopt new perspectives on the perception of our reality.

About Johanna Mangold and Sarah Huber

Johanna Mangold

Sarah Huber

Sarah Huber and Johanna Mangold explore models of reality and states of consciousness in their artistic collaboration. Their practice combines archetypal symbols, ritual motifs and elements from science fiction and pop culture with scientific and theoretical paradigms. They investigate how ritual actions influence the connectivity between humans, other living beings and the earth, and what effects this has on human consciousness. The mechanisms of the psyche and the dynamics of physical interactions are essential fields of research in this context.

Johanna Mangold (born in Kempten in 1984) studied fine art at the State Academy of Fine Arts in Stuttgart under Prof. Cordula Güdemann and Prof. Rolf Bier from 2008 to 2015. From 2018 to 2020, she was a master student in the academy’s Weissenhof programme under Prof. Ricarda Roggan. Drawing, textile and object art are just as much a part of her artistic repertoire as sound, video and virtual reality. Thematically, she primarily deals with areas of the unconscious, dream images, the exploration of states of consciousness and memory, and the construction of individual mythologies. Johanna Mangold lives and works in Stuttgart and Ulm.

Website

Sarah Huber (born in Pforzheim in 1987) studied at the State Academy of Fine Arts in Stuttgart from 2007 to 2016. In 2022, she was a lecturer at the ABK Stuttgart and has since been working in the field of art education. Artistic work as a tool for questioning one’s own reality and mapping one’s own psyche in order to explore the nature of reality is central to her thinking.
The media she uses range from printmaking and drawing to carved wooden panels, objects and installations. Sarah Huber lives and works in Stuttgart and Ludwigsburg.

Website

Eva Schmeckenbecher

andreas — Tue, 05 Aug 2025 14:20:24 +0000

240901

HD Video, 6:11 min., Stereo, projection on SOLDATEN

2025

The tarpaulin covering a salute cannon seems to come to life and emit strained sounds and sighs.
The cannon is a US M101A1, 75 mm, originally 105 mm, manufactured in the USA between 1942 and 1944.
Location: Vardø Fortress, Norway.

The video is combined with

SOLDATEN, 2009

Photos, ironed, skinned, reimplanted photo layer, ink, adhesive tape, approximately 150 x 210 cm
Based on a photograph from the Second World War.

About Eva Schmeckenbecher

Born in Tübingen in 1977, she studied architecture and urban research at the Academy of Fine Arts in Nuremberg, painting and intermedia design at the State Academy of Fine Arts in Stuttgart, and completed basic training in theatre education at the LAG Theater und Schule in Reutlingen. Since 2000, her work has been presented in solo and group exhibitions in Germany and abroad.

Website