Thursday, August 1, 19:00
Amplify and Sediment
Encounter with Laura Engelhardt, Sonja Hornung & Josephine Findeisen

[deutsch unten]

Space in the built environment — whether it is considered to be private, public, or something in-between — is a charged element. Urban space takes on forms that are only easily accessible to specific bodies. These bodies then amplify and sediment the city’s forms, shaping places. Spaces and bodies thus have a reciprocal relationship, raising questions relating to access and belonging. What happens to precarised bodies when the urban fabric is placed under stress?

In 2016, Sonja Hornung and Laura Engelhardt worked together intensively on the question of urban valorisation and the real estate industry in Berlin with a plan to make a film together. The film was never realised; instead, their shared dialogue flowed into two separate works:

Sperre, a collaboration between Sonja Hornung and dancer and choreographer Josephine Findeisen, is a performative walk for gentrifying urban spaces. In a hand-sewn, emergency ‘uni-form’, a resistant body attempts to insert itself into and move in the rigid spaces of a gentrified city. The walk takes us to DaWoEdekaMaWa, a nearby contested site that arose due to an artistic intervention by Alison Darby and Sabrina Brückner.

Laura Engelhardt’s experimental documentary observes, over the course of two years, an inner courtyard in Berlin, in which investors erect a new residential building for resale. As construction work progresses, a woman narrates the ups and downs of her contrary life, and the stagnation of her body. The work thus brings processes of speculation and urban displacement into intimate contact with questions relating to social class and physical fragility.

After the walk and screening, we will come together to discuss artistic modes of collaboration, representation and resistance in the context of a gentrifying city.

Laura Engelhardt (born 1988 in Bremen) studied Architecture and Fine Arts in London, Stuttgart and Berlin and is currently doing the postgraduate programme at the Academy for Media Arts Cologne. Her work examines built and imagined architectures, urban spaces and the fragile relation between the human body and its environment. She lives and works as a filmmaker and artist in Cologne and Berlin.

Josephine Findeisen (DE) born in 1990, graduate of dance, context, choreography (UdK Berlin). In her choreographic practice, she observes market-based and social realities, investigating their influence on moving bodies. As a dancer and performer she works with various choreographers and artists, including Isabelle Schad (Pieces and Elements 2016, INSIDE OUT 2018, Reflection 2019), Okwui Okpokwasili (Sitting on a Man’s Head 2018), Alexandra Pirici (Aggregate 2017, Fluids. A happening by Allan Kaprow 2015), Zuzanna Ratajczyk (AFTERNOON 2015, Bless This Place 2018).

Sonja Hornung (*1987) is a Melbourne-born. Her practice moves between installations, situations in urban space and drawing, and revolves around the attempt to insert empancipated forms in pre-existing systems. She studied humanities and visual artist in Melbourne and Berlin, where she lives and works since 2012.


Der Stadtraum – ob privat, öffentlich oder irgendetwas dazwischen – ist eine aufgeladene Sache. Die Stadt nimmt feste Formen an, die nur bestimmten Körpern leicht zugänglich sind. Diese Körper wiederum verstärken die gegebenen Formen und prägen die Orte. Raum und Körper stehen in einer wechselseitigen Beziehung, die Fragen nach Zugang und Zugehörigkeit aufwirft. Was passiert mit prekarisierten Körpern, wenn der Druck auf städtischen Raum zunimmt?

2016 haben sich Sonja Hornung und Laura Engelhardt gemeinsam mit der Frage der Stadtaufwertung und der Immobilienwirtschaft in Berlin beschäftigt mit dem Plan, einen gemeinsamen Film zu realisieren. Der Film selbst kam nie zustande. Stattdessen hat sich der gemeinsame Dialog in zwei unterschiedliche Arbeiten entwickelt:

Sperre, eine Zusammenarbeit zwischen Sonja Hornung und der Tänzerin und Choreographin Josephine Findeisen, ist eine performative Begehung gentrifizierter Stadträume. In genähter Notfall-‘Uni-Form’ versucht sich ein widerständiger Körper in den starren Räumen der gentrifizierten Stadt zu bewegen und einzufügen. Der Spaziergang führt zu DaWoEdekaMaWa, einem umkäpften städtischen Ort, der aus künstlerischen Interventionen von Alison Darby und Sabrina Brückner entstand.

Laura Engelhardts experimenteller Dokumentarfilm konzentriert die zweijährige Beobachtung eines Berliner Innenhofs, in dem Projektentwickler einen Wohnkomplex zum Weiterverkauf errichten. Im Prozess des Bauens erzählt eine Frau von körperlicher Stagnation und ihrem eigenwilligen Leben. Der Film setzt Prozesse der städtischen Verdrängung in intime Beziehung mit Fragen nach sozialer Herkunft und körperlicher Fragilität.

Im Anschluss des Spaziergangs und Screenings werden wir gemeinsam künstlerische Praxen der Kollaboration, Darstellung und des Widerstand im Zusammenhang einer sich gentrifizierenden Stadt besprechen.

Laura Engelhardt wurde 1988 in Bremen geboren und studierte Architektur und Kunst in London, Stuttgart und Berlin. Momentan absolviert sie das postgraduale Studium Mediale Künste an der Kunsthochschule für Medien Köln. Ihre filmischen Arbeiten untersuchen gebaute und imaginierte Architekturen und setzen sich mit der fragilen Beziehung zwischen Subjekt, Körper und (gebauter) Umwelt auseinander. Sie lebt und arbeitet als Filmemacherin und Künstlerin in Berlin und Köln.

Josephine Findeisen (*1990, Dresden) studierte ‘Tanz, Kontext, Choreographie‘ (UdK Berlin). In ihrer choreographischen Praxis betrachtet sie marktbasierte und soziale Realitäten und untersucht deren Einfluss auf bewegte Körper. Sie tanzt für verschiedene Choreografinnen, u. a. Isabelle Schad (Pieces and Elements 2016, INSIDE OUT 2018, Reflection 2019), Zuzanna Ratajczyk (AFTERNOON 2015, Bless This Place 2018), Alexandra Pirici (Aggregate 2017, Fluids. A happening by Allan Kaprow 2015) und Okwui Okpokwasili (Sitting on a Man’s Head 2018).

Sonja Hornung (*1987) ist eine in Melbourne geborene Künstlerin. Ihre künstlerische Praxis bewegt sich zwischen Installationen, hergestellten Situationen im urbanen Raum und Zeichnungen und dreht sich um den Versuch, emanzipierte Formen in schon bestehenden Systemen einzusetzen. Sie studierte Geisteswissenschaften und Kunst in Melbourne und Berlin, wo sie seit 2012 wohnt und arbeitet.


Tuesday, June 11, 17:00–21:00
Launch of The Endotic Reader N.1

Starting point:
Galerie in Körnerpark
Schierker Str. 8
12051 Berlin

To celebrate TIER’s first year at Donaustrasse 84 in Berlin-Neukölln, we are publishing the first reader on the topic of the endotic, The Endotic Reader № 1. We are bringing together contributions by some of the participants we have hosted over the year, as well as people we look forward to inviting to the space, to celebrate the past year and the ones to come. These contributions will explore some of the paths that the Perecquian word “endotic” offers, as a way of approaching the territory of complexity that we live in and through. The topics explored in the reader range from a meditation on the practice of dis-othering to a reflection on trauma and on to thoughts on the future of reading. A public walk with five stops will introduce a selection of texts presented in the reader.

With contributions from Linda Zhang & Biko Mandela Gray, Nelly Yaa Pinkrah, Bonaventure Soh Bejeng Ndikung, Lorenzo Sandoval, Barbara Marcel, John Holten, Louis Henderson, Vanessa Gravenor, Pia Chakraverti-Wuerthwein, Benjamin Busch and Ayami Awazuhara.

With readings by John Holten, Barbara Marcel, Vanessa Gravenor, Bonaventure Soh Bejeng Ndikung and Pia Chakraverti-Wuerthwein.


00.- Meeting at the exhibition “Druck Druck Druck” at Galerie im Körnerpark at 17:00. Curators Nina Prader and John Z. Komurki are present.

01.- John Holten reads from “The Future of Reading” at Galerie im Körnerpark.

02.- Barbara Marcel reads from “Seven Crossroads: A Berlin Walkshop Ramble” at Comenius Garden.

03.- Vanessa Gravenor reads from “11Frag/ments” at Karma Kultur Gemeinschaftsgarten.

04.- Bonaventure Soh Bejeng Ndikung reads from “Dis-Othering as a Method: Leh Zo, A Me Ke Nde Za” at former the Savvy Contemporary location, Richardstrasse 43/44.

05.- Pia Chakravarti-Wuerthwein reads “Nebenjob” at Job Point Neukölln.

06.- Closing gathering at The Institute for Endotic Research, where the printed publication is available.

With the support of Project Space Festival Berlin.

Photos by Benjamin Busch

Thursday, March 7, 19:00
Private Space / Public Space
With Benjamin Busch, Alina Kolar, Àngels Miralda, Maria Ines Plaza, Lorenzo Sandoval and Paul Sochacki

Join us for a pre-celebration of international working women’s day at TIER this 7th of March. We’ll do it through readings of texts related to the relationship between private and public space. Traditionally ascribed as a woman’s responsibility, the private sphere has been related to the realm of the personal. But how separate are private and public realities?
Through open discussion we will debate the interrelated nature of space and question how these terms are being re-defined and theorised in contemporary art. Short readings by Benjamin Busch, Alina Kolar, Àngels Miralda, Maria Ines Plaza, Lorenzo Sandoval and Paul Sochacki will initiate this debate. Join us for a drink, a celebration, and pick up your brand new copy of Art of the Working Class Issue #5!

Organized by Àngels Miralda.

Photo 1 by Lorenzo Sandoval. Photos 2 and 3 by Benjamin Busch.

Friday, February 22, 19:00
First in a series of interventions by Kanako Ishii

“Re-Landscape” is a long-term curtain project by Kanako Ishii that captures memories of views from windows that change as time goes on, through processes such as urban development, natural disaster, war damage or leaving one’s own place. In her ongoing intervention at The Institute for Endotic Research, Ishii’s curtains will be layered one after another in the storefront window to represent the four seasons. It will develop through a walk based on research about the neighborhood, especially regarding the history of the Bohemian refugees who fled to Rixdorf in the 18th century, and will eventually become a situated visual archive.

Kanako Ishii (b. 1984) is a Japanese visual artist born in Tokyo who spent her early childhood in Frankfurt am Main. Since 2012 she is based in Berlin. Ishii has held solo exhibitions at Künstlerhaus Bethanien (2018), Japanese-German Center Berlin (2015), Goethe-Institut Tokyo (2014), among others.

Photos by Benjamin Busch

January 25
18:30 doors, 19:00 start: The ‘Unambitious Stripper’ with Isabel Lewis
20:00: Introduction to ‘Wardian Table’ by Luís Berríos-Negrón
20:30: Screening by Mariechen Danz amid installed artworks

January 26
19:00: Performance by Daniel Salomon
19:30: Introduction to ‘Incommensurate States’ by Patricia Reed
20:00: Screening by Emilija Škarnulytė

Where are the fluxes of affect to be located when thinking them as infrastructure?
The Institute for Endotic Research (TIER) proposes a constellation of words as an extension of that question, inspired by the transmediale Study Circle ‘Affective Infrastructures’. This constellation is drawn from Infratekture, a made-up word which mirrors the blurry edges of possible affects. We take the prefix Infra-, meaning below but also within, to think about Perec’s Infraordinary and Duchamp’s Inframince. And we place it alongside the Proto-Indo-European root *teks-, the root of text, textile, techne, technique, tectonic, architecture, hypertext, pretext, context and texture. With this constellation, we chart a course through the invisible links between the words, on the hazy map of affect.

Our approach with The Institute for Endotic Research sees the space as a text that is constantly written and rewritten, edited and reconfigured. Every intervention responds to the status quo of the space and transforms it. We invite artists, architects, and other practitioners to create interventions in the space, while we also produce our own architectural devices to give texture to the space. Both serve as a common infrastructure for the recombination of relations among people and objects. We ask the artists and researchers who are part of ‘Infratekture’ to respond to this context when applying their technique as part of a collectively unraveling text.

‘Infratekture’ will present works in the form of a two-evening event. It will be composed of a series of performances supported by interventions (both new and existing). The performances will explore notions related with the composition of the social body through the invention of its organs, its nourishment and its textures. This social body-text is readable and editable: it is the result of the accumulation of layers of socio-technical conceptualizations, as well as the affective infrastructures that bind them together. The necessary invisibility of the connections within and between the many words inside Infratekture will be used as a metaphorical device to explore affect.

Artists invited to Infratekture: Luis Berríos-Negrón, Mariechen Danz, Isabel Lewis, Patricia Reed, Daniel Salomon, Emilija Škarnulytė.
With existing interventions by: Ana Alenso, Plating Concrete (Miguel Prados Sánchez and Pablo Ramón Benitez), Sofia Lomba, Sara Pereira.

Luís Berríos-Negrón will introduce the ‘Wardian Table’, that was produced to serve as prop for the re-enactment of ‘Metalogue: A Crème de Menthe, a Rusty Nail. Why Intransitive?’ as the core performance of Memory #02 for the ANARCHIVE at

Mariechen Danz’s approach to a nonlinear historiography of both geographical and anatomical charts will be installed at, as a way to question systems of knowledge production.

Isabel Lewis will present an iteration of her workshop titled ‘Unambitious Stripper’, which will use ideas and techniques related to movement for participants to reach a personal inner space by figuratively removing layers of social constructs and identity.

Patricia Reed will present the artwork ‘Incommensurate States’, where a camera maps the contours of the entire world in a loop, moving along the path of all nation-state borders following the logic of the ‘traveling salesman’.

Daniel Salomon will share his guts with the audience in the form of a long sausage based on his daily food intake.

Emilija Škarnulytė’s film and video work examining geologically transformed spaces of legacy and existing regimes of power will establish a visual continuity between concrete infrastructures and the haze of affect that animates them.

A cooperation between transmediale and The Institute for Endotic Research. Supported by the Senate Department for Culture and Europe.