Art mediation at documenta fifteen (Kassel, May to September 2022) with a group of more than 130 people.

lumbung is based on friendship. In Indonesian sobat means friend or companion. The plural form is sobat-sobat. As friends, the art mediators sobat-sobat accompany visitors on guided tours through the documenta fifteen exhibition. These exhibition tours are called Walks and Stories and form part of lumbung knowledge. As an active part of lumbung knowledge visitors and art mediators alike create encounters and access through their practice of storytelling.

Text: documenta fifteen, 2022

Online formats

Next to all the offline Walks and Stories formats (in different languages, for different audiences, needs, …) we developed several online formats such as Online Walks and Stories and Online Hosting at ook_visitorZentrum.

sobat-sobat organised

To respond to the public debates we were confronted with and to advocate for better working conditions we, a part of the sobat-sobat, organised ourselves. We collectively wrote and circulated an Open Letter and planned and carried out public actions. Find out more here.

One of the outcomes of the Open letter was an invitation by the interim director Alexander Farenholtz, to elect a group of representatives to work on the most urgent and concrete matters. I had the honour to share this responsibility with nine other engaged sobat-sobat.


Next to our private meme-group and nests (groups of ca. 20 sobat-sobat formed during the preparation weeks), one of the channels to reflect on our practice and experience at documenta was the publication “Ever been friend-zoned by an institution'” published towards the end of the 100 days with the lumbung press (documenta Halle). Find out more here.

Course and presentations

I had the pleasure to be invited by Bruno Heller with Desirée Hieronimous to offer a course for Master students of Zurich University of the Arts that reflected on our experience as art mediators at documenta fifteen and translated it to be further developed in other contexts. We developed a block seminar titled “Learning from lumbung one: Collectivity in Art Education” (20, 27 March, 11-14 April) in collaboration with the education department of Kunsthalle Zurich. The course ended with an exchange of experiences with other Art Mediators and professionals.

For the presentations related to my experience as sobat, click here.

Transcultural Collaboration

Shared Campus semester program
Greece (Athens and Hydra)
20 September – 17 December 2021

Transcultural Collaboration is a unique international MA semester programme in the arts, and a cooperation between Shared Campus partner institutions in Asia and Europe. Students from all arts and design disciplines have the chance to explore different locations of the Shared Campus network, collaborating on experiments with open outcomes.

The programme takes place at different locations in Europe and in Asia. These locations serve as a base and common playground for joint research. Their different cultural and historical developments and living environments provide interesting insights and opportunities for reflection on a variety of topics such as value systems, politics, traditions and cultural hybridization, or power structures.

The main focus is on practice-based collaboration and teamwork between the participants in changing constellations. An annual semester topic and a related lecture series serve to focus debates and provide a framework for practical experimentation. The programme is complemented with additional inputs by guests, excursions, and workshops. The semester includes public presentations.

Text: Shared Campus, Transcultural Collaboration

Find out more about the process and outcomes of TC 2021 on the Transcultural Collaboration Blog.

During our time in Greece, we realised two major events/exhibitions:

Saganaki on Ice

Communitism (Kerameikou 28, Athens, Greece)
28 October 2021
Find out more about our projects here.

Micro-relations lab

One Minute Space (Marathonos 71, Athens)
10-11th December 2021
Find out more about our projects here.

Do videos dream of glitching?

Online screening curated for the Inter Media Art Institute (IMAI) Foundation, Düsseldorf, Germany with Caroline Glock, Evita Verbrugge, Heiko Schmid, and Ugo Pecoraio.

Curatorial statement

When we immerse ourselves in digital worlds, we count on their seamless functioning. The website will load instantly, and the video call won’t lag … but that’s not always the case. By disrupting their flow, distortions produce alternative spaces and modes of understanding. The errors, malfunctions, and disruptions that lead to irritation in our everyday lives—mostly just annoying, but sometimes surprising—are also called glitches.

A glitch can be intentional or occasional. It celebrates the inefficient, the irrational, and the annoying disruption. It often shows illusionistic traits reminiscent of phantasmagoria, a term borrowed from stage magic and the history of technology. Therefore, it has been employed by a variety of artists as an aesthetic and conceptual tool. We argue that some video artists use glitching as an emancipatory strategy that enables a deeper critique of technology. We argue that phantasmagoric video glitches reveal hidden (power) structures within technology, media, and politics that reach beyond their technological mechanics. 

The works we selected for this screening question the boundary between malfunction and manipulation. Where does illusion collide with dysfunction? What if we lived in a phantasmagoric reality and could only dream of glitches that help us escape to what’s beyond the illusion?

Text: Caroline Glock, Chiara Giardi, Evita Verbrugge, Heiko Schmid and Ugo Pecoraio


Steina and Woody Vasulka, Noisefields, 1974, 10:52 min.
Franziska Megert, Sweet Dressing, 1983, 03:26 min.
Paul Garrin, Free Society, 1988, 4:03 min.
Raphael Montañez Ortíz, Busy Bodies, 1997, 8:57 min.
Ulrike Rosenbach, Das Feenband, 1983, 15:17 min.
George Barber, Effervescence, 1995, 1:31 min.
Norbert Meissner with Mike Krebs, Dialog, 1987, 4:45 min.

Muse Gesucht

Solo exhibition by multimedia and NFT artist Sonja Lackner
Curated by Chiara Giardi
15–17th October 2020
Kabinett Visarte (Schoeffelgasse 10, Zurich, Switzerland)

Curatorial statement

“The white father told us: I think, therefore I am. The Black mother within each of us – the poet – whispers in our dreams: I feel, therefore I can be free.”

(Audre Lorde, Poetry is not a Luxury, 1985)

Close-ups of organic forms into abstract lines, a fluffy feather labyrinth, and breaking spheroid-waves. Sonja Lackner’s work is a journey into the sublime of inner places, into the depths of female power and awe. Where to start a sensual voyage if not from the body, the original and closest, the most intimate and alienating of spaces?

With the scientific eye of a chemist, the artist scrutinizes the body as the object and subject of her research. Yet, she doesn’t rationalize its poetry, its secretive, unpredictable power.

She focuses on the sensuality of touch, on the immediacy of skin against skin, as well as on the multifaceted emotions which arise during this playful expedition. Her bright, deep, and carnal palette conveys a red mystery: ‘Who dares to enter?’. Lackner pushes us, viewers, into an uncomfortable position by laying bare an obscure intimacy. We want to understand, to neutralize the mix of voyeurism and visceral curiosity that simultaneously attracts and scares us away. But the tension won’t be released, so let it bewitch you.

Muse Gesucht (Open to a Muse) – 15th-17th October 2020 – is Sonja Lackner’s first solo exhibition. Embedded in the Frisch series by Visarte Zurich at Schoffelgasse 10, it brings together a selection of recent works (2019-2020) on different media: photography, video, and installation. Each visitor brings his/her own story and character and can step into the position of a Muse during the Polaroid live events. Curiosity and playfulness are the key to this unique experience and will intensively influence the content of the new Polaroid series.

After a master’s degree in Chemistry (2010), Sonja Lackner (b. 1983, Kufstein/Austria) studied at the F&F School of Arts and Design and the Zurich University of the Arts. She currently lives and works in Thalwil/Zurich. Her work has been featured at “Kunsthalle Zurich” (2020, CH), “Photo Schweiz” in Zurich (2020, CH), “ARTBOX.SCREEN” at ARTBOX Gallery Zurich (2019, CH), “Walk of Art” during Swiss Art Expo at central station Zurich (2019, CH), “A touch of” at Estudio Nomada in Barcelona (2019, ESP) and “Young Blood 3” at Gallery Macelleria d`Arte in Saint Gallen (2018, CH). In the winter of 2019, the artist joined “Estudio Nomada” during her residency in Barcelona followed by a residency in Iran.

Art Walks @Zurich Art Weekend

A collaboration between the Master Art Education Curatorial Studies at Zurich University of the Arts (ZHdK) and Zurich Art Weekend.
Students of the Master Art Education Curatorial Studies have worked out different Art Walks. During a two-hour walk, visitors are invited to visit several art spaces and discuss current themes and curatorial approaches of the Zurich art scene.

Text: Zurich Art Weekend


The Art Walks I designed focused on women* in the arts.
It started at Kunsthaus Zurich, linked the gallery Fabian Lang, Una Szeeman’s work for Gasträume 2020 and ended at Museum Strauhof.

Un-learning Ecologies: Workbook Art Education in the Ecological Crisis

Edited by Cynthia Gavranic, Janina Krepart, Chantal Küng, and Maren Ziese.
Designed by Chiara Giardi, Caroline Glock and Ani Ekin Özdemir.
Photo: Caroline Glock.


Species extinction, climate change, and worsening ecological and social inequality: art educators and teachers are confronted with urgent new challenges. How can art education make critical and innovative contributions to a new sense of responsibility and agency?

How could a future-oriented art education look like, in which all generations take care of our planet? Which methodological challenges and necessary actualizations are there for a post-human, emancipatory educational work?
The bilingual, participatory publication “Un-learning Ecologies: Workbook Art Education in the Ecological Crisis” should serve art mediators, art educators, art teachers, students, curators and artists as an open, performative platform to deal with the ecological crisis and environmental art education, and as a format that can be further developed and activated.

Scores, arts assignments, possible courses of action and experiments were developed based on contemporary theories on ecopedagogies, critical pedagogy, transformative learning and Un-/Learning. Questions of interspecies communication and solidarity, Hydrofeminism and Plant Being, as well as Healing and Decolonizing Nature are included as well as questions of intergenerational learning and speculative future scenarios.

Text: Cynthia Gavranic, Janina Krepart, Chantal Küng, and Maren Ziese

Download the open-access, print-at-home version here.

Gavranic, Cynthia, Janina Krepart, Chantal Küng, und Maren Ziese, Hrsg. 2021.
Un-Learning Ecologies: Workbook Kunstvermittlung in der ökologischen Krise.
Zürich: Migros Museum für Gegenwartskunst; Zürcher Hochschule der Künste.
ISBN 978-3-906437-43-9


KUNSTSURFER is a browser-based art space. It runs on an add-on that recognises advertisements and replaces them with digital exhibitions. KUNSTSURFER brings art into your daily browsing. It plays with the ways online advertisements look and work. It takes over commercial space to host experimental, digital site-specific curatorial and artistic projects.

KUNSTSURFER is also the collective that created and runs this art space. It is currently composed of Chiara Giardi, Evita Verbrugge, Heiko Schmid and Ugo Pecoraio, four curators who are mostly based in Switzerland. KUNSTSURFER was founded in 2021 by the current members, together with Itay Blaish. The add-on was programmed and is technically supported by the artist Michael Aschauer.

KUNSTSURFER was funded by the city of Zurich (Creative Tech for Good), ZHdK Fonds/Mercator Foundation and the Taiwanese Ministry of Culture.

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Videocity screening: “Dios te salve”

Shown in July and August 2023 at REX Box, Kino Rex (Bern, Switzerland) for the videocity cycle ‘Utopia today’.

Curatorial statement

‘A utopia is an imaginary place or state in which everything is perfect’ (Oxford Dictionary).
It is so perfect that it could exist nowhere and so thought-through that nobody would want to live there – I would add. Very much unlike our beautifully messy world, utopias are steady-state, closed societies. They are often totalitarian projects written by masterminds, not told by their inhabitants. So beware, the fine line between a utopia and a dystopia might just lie in a change of perspective: from the godly to an earthly one, from the future plan to the here and now. No need to panic and give up hopes for “better” societies though! The present can be changed, often starting with a pinch of humour. The artists I selected for this chapter play with Christian symbols, regrounding them in this world. The videos appropriate Saint Patrons and the Virgin Mary as protective, celebratory figures by creating humorously campy collages of news, portraits and glitter. These creative takeovers are symbols of resilience, hope and aspirations visibly in conflict with the often conservative and repressive belief system they belong(ed) to. The Holy Mary, the main projection screen for the patriarchal value of virginity and the stigmatisation of sexuality, will pray for all of us sinners, now and at the hour of our death.


Edlyn Castellanos
Dios te salve, María, 2019
01:02 Min., with sound

Stephanie Francis-Shanahan
The Patron Saint of Social Mobility, 2016
1:19 min, with sound

Maria Marshall
Playroom, 2016
5:00 min., with sound

Johanna Reich
Virgin’s Land, 2019
1:40 min, with sound

San Marino drittes Land, prima bozza

Galleria Nazionale San Marino
December 2019

Drittes Land (third country) is the diplomatic status of the Republic of San Marino with respect to the European Union (December 2019).
With this performance, I reflect on this status as something which is not just imposed from outside onto the Republic, but also, and for me most importantly, as a condition which is self-imposed and constructed. in my opinion, several national debates and ideological positions contribute to marginalization and separation of the Republic from the rest of the world. in the performance, I mentioned the 2013 Referendum, when the Sammarinese population voted against the beginning of a process of rapprochement with the EU, abortion (still illegal in San Marino), the power of the Church and the recurrent financial scandals.
The performance began by using the language of the wide-spread religiosity in the Republic and citing Maurizio Cattelan (a site-specific work he realized in San Marino in 1991 is documented in the same room) by sharing a banana among the visitors.
At the invocation: “Vieni spirito dell’Arte” (Come Spirit of Art), they replied: “Vieni in mezzo a noi” (Come upon us) and ate the banana all together.

After this ceremonial prologue, the performance was divided into four parts: a flow chart on what happens when someone asks me where I come from; two diary entries on a meeting with an officer working at the Ministry for Foreign Affairs of the Republic of San Marino and on my appointment to renew my residence permit at the immigration office of Freiburg (Germany); and lastly, an essay on L’ECADC ovvero l’extracomunicato animale da circo (the non-EU citizen circus animal), which deals with the strikingly similar ‘social’ requirements the two figures face every day to stay part of the company, or to earn the next visum/residence permit. Each text (completely hand-written) was read, crumpled up and thrown into a trash bin, together with the banana peel, my passport and my residence permit, in a sign of liberation and overcoming of this, very emotional, ‘prima bozza’ (first draft).


Resurrections: Embodying bodies

This plaster-net-based panel was initially developed during the course “Arts, Technology and Philosophy,” a collaboration between the University College Groningen and the Art Academy Minerva (Groningen) guided by Dr. Martijn Boven (philosopher) and Roland Schimmel (artist). The panel was made by sewing myself onto the plaster net with different threads and by then cutting myself out through the net. With this performative act, I wanted to enquire about and critique ‘embodiment’ as another too abstract concept to ‘embody’ the body.

The panels, preliminary experiments more than final products, were exhibited at the University College Groningen (the Netherlands) on the 17th June 2019