Åsa Sonjasdotter – Die Kartoffel (The Potato)

With contributions from the farmers Christina and Rolf Baden from Neuenkirchen-Brochdorf, the former photographers of the Institute for Potato Breeding Groß Lüsewitz and an inspecting potato cultivation, Berlin.

Project start at the end of April /  exhibition from 31 August to 13 October

For many years, Åsa Sonjasdotter has been involved in her exhibitions and projects with the relationship between people and plants. At the center of her artistic practice is always the potato as a cultivated plant with a long history, which is highly interesting both politically and socially and historically. She often cooperates with farmers, hobby gardeners, eco-activists, geneticists, urban gardening projects from all over the world in her long-term projects and refers to the conditions of the respective place. Their projects, which are divided into a wide range of disciplines, illustrate the explosiveness of the topic and point to changes in the stereotypical attributions of urban and rural areas.

In the Springhornhof she devotes herself to different aspects of potato cultivation and potato farming. It always reflects the way in which the topic is represented in our everyday life, in scientific discourses, in economic contexts, in advertising, or in historical documents.

In collaboration with the farmers Christina and Rolf Baden, who run a small farm shop in Neuenkirchen-Brochdorf, they have grown the potatoes “Adretta” and “Gala”. “Adretta” was the result of the development of a particularly robust potato cultivar, which was suitable for the agricultural and agricultural production cooperatives (LPG) in the GDR. The variety “Gala” was bred after reunification. When the GDR Institute for Plant Breeding was dissolved in Groß Lüsewitz near Rostock after the turn of the century, the former NORIKA GmbH, together with the potato processing companies of the old federal states, were founded as a partner. They continue the knowledge that the institute has built up over decades.

Photographs, drawings and texts document the German-German history of the two varieties, the cultivation, the growth, the harvest, but also the everyday life of the family Baden. In large roll containers, which are normally intended for supermarkets, “Gala” and “Adretta” are on sale.

In the space next to it, Åsa Sonjasdotter gives insights into the photo archive of the former institute for plant breeding in Groß Lüsewitz. The photographs are not only scientific documents, but also portray the institute’s staff, creating an interesting tension between ideology and everyday life. The need to breed robust varieties for a large-scale agriculture, with little chemicals available, adds a current importance to these issues.

Sonjasdotter combines various narrative strings in connection with the development of new potato varieties in the text collage “selection / recollection” on the upper floor. The facts come from the source material, which is spread out in a showcase. The chronicle begins with the Russian Revolution. Places of interest are Russia, Hungary, South Africa, Peru, Great Britain or Groß Lüsewitz. The genetic development of the globally prevalent basic food potato is linked to political ideology, personal destinies, economic interests, licensing rights and individual experiments.

The installation “An Examining Potato Breeding” continues this story. Diaserien document three year cycles of the same name project on a fallow in the middle of Berlin. Here, gardeners, artists and interested people try to build on old knowledge and experiment with a great variety of different shapes, colors, qualities and aromas.

We would like to thank the Land of Lower Saxony, the Lüneburger Landschaftsverband and the Volksbank Lüneburger Heide for the promotion of the exhibition and accompanying program. 

Logo_LG_4c Logo_MWK_JPG Vb-logo 4c

We would also like to thank the Kulturhistorischen Verein Groß Lüsewitz eV, the University of Tromsø, the Office for Contemporary Arts Norway, Heidesand Raiffeisen-Warengenossenschaft eG, Norika GmbH and the Princess Gardens at Moritzplatz Berlin for the friendly support of the exhibition.

 UiT logo-1


Åsa Sonjasdotter is a professor at the Academy of Contemporary Art in Tromsø, where she was involved in 2007. She studied in Copenhagen / DK and Trondheim / N. In the 1990s she was the founder of “Women Down the Pub”, a feminist art and action group.

Selected projects: The Way Potatoes Go II (The Politics and Pleasures of Food, Hall 14, Leipzig, 2013); Rooting, Regional Networks, Global Concerns (Sullivan and Betty Rymer Galleries, Chicago, USA, 2013); The Way of Potatoes (The Worldly House, dOCUMENTA (The World of House, 13), The Order of Potatoes (Sweden, 2011), The Way Potatoes Go (EATLACMA, LACMA, Los Angeles, USA, 2010), Small Potatoes Make Big Noise (4th Bucharest Biennale, Romania, 2010) ); The Way Potatoes Go, The Gatherers: Greening Our Urban Spheres, Yerba Buena Center for the Arts, San Francisco, USA, 2008), Tea Pavilion (3rd Guangzhou Triennial, Guangzhou, China, 2008), Sharing the Knowledge (Konsthall C, Stockholm Sweden, 2007); Reconstructing supplies (Kunsthalle Exnergasse, Vienna, Austria, 2007); Impossible India (Frankfurter Kunstverein, Germany, 2006); On Mobility (Muscarnok, Budapest, Hungary and De Appel, Amsterdam, Netherlands, 2006).

Anna Jander – IT’S SOUL

Art Prize of the Lüneburgische Landschaftsverband

October 19 – December 22nd


“Without taking sides, Anna Jander, with her paintings, becomes a committed chronicler of the ambivalent dynamics of urban developments. She always puts her subjective vision into relation to the collective image memory and the media reality. With its own handwriting, the game with perspectives, blurring, intensities and uncertainties, the city landscape becomes at the same time the souls landscape – It’s Soul. “(B. v. Dziembowski)

Vita 1967 born in Lüneburg 1986 to 1990 studied at Braunschweig University of Applied Sciences 1997 – 2002 teaching activities: IFS International Film School Cologne, Animation School Hamburg, HFF Film and Television College Konrad Wolff in Babelsberg lives and works in Niederohe and Berlin.

HAWOLI Photo Work

Zeitspuren Jura I 2003

Zeitspuren Jura I 2003

September 19 – November 8

On the occasion of the 80th birthday of HAWOLI, the Kunstverein Springhornhof shows photographic works by the sculptor, who was born in Bleckede and has been living and working in Neuenkirchen since 1973 in the Lüneburger Heide.

The relationship between nature and culture is the basic theme of his work. In his sculptures HAWOLI confronts the raw unworked stones with the artificial worked steel. It is less well known that he has always experimented with the medium of photography in parallel with sculpture. In the darkroom, he reproduces his own photographs, most of which are recordings made of quarries, handmade paper or stone surfaces. The light and shade of the photographic image, the brush stroke when applying the emulsifier liquid, and the natural structures of the stone form an exciting symbiosis.
With numerous exhibitions and installations in the public space, HAWOLI is one of the region’s most important cultural representatives. Since 1967 he took part in numerous exhibitions, eg The Duisburger Lehmbruck Museum (1969), the Kunstverein Hannover (1977) and the Berliner Haus am Waldsee (1993/94). The Kunsthalle Mannheim (1993), the Städtische Galerie in the Buntentor Bremen (1994) and the Kulturforum Lüneburg (2005) devoted him to larger individual exhibitions. With work for the public space he has coined the cities of Bremen, Hanover and Lüneburg. He supported and accompanied his sister Ruth Falazik (1927 – 98) in the founding of the project “New Artistic Landscape” and the art association “Springhornhof”. With work for the public space he has coined the cities of Bremen, Hanover and Lüneburg. He supported and accompanied his sister Ruth Falazik (1927 – 98) in the founding of the project “New Artistic Landscape” and the art association “Springhornhof”. With work for the public space he has coined the cities of Bremen, Hanover and Lüneburg. He supported and accompanied his sister Ruth Falazik (1927 – 98) in the founding of the project “New Artistic Landscape” and the art association “Springhornhof”.

The exhibition will be accompanied by a catalog and an edition of the artist.

Until 10th October: Exhibition HAWOLI tools in the Kunstverein Rotenburg / W., Nödenstraße 9, Sat 15 – 17 / Sun 11 – 13 & 15 – 17 o’clock.

Bis 10. Oktober: Ausstellung HAWOLI werk zeugen im Kunstverein Rotenburg/W., Nödenstraße 9, Sa 15 – 17/ So 11- 13 & 15 – 17 Uhr.

Blaffert & Wamhof

INSIDE Hohne Garrison

Until 31 January the exhibition is open by appointment.

Hohne station

Opening on Sunday, November 14 at 5 pm

The subject of the photographic long-term documentation “INSIDE Hohne Garrison” by the artist duo Nicole Blaffert & Franz Wamhof is the departure of the British armed forces from the garrison Bergen-Hohne in the Lüneburger Heide, which the artists accompanied in summer 2015. The focus of the work of Blaffert & Wamhof are the themes of landscape, architecture and people. It is less interested in the military aspect, but rather the traces of everyday life within an externally closed community in a time of transition. On the outside, the photographs of the abandoned buildings and the military training grounds afford an insight into a world that was closed to them for decades. The garrison and the NATO headquarters are located in the immediate vicinity of the former concentration camp Bergen-Belsen. Parts of the British Hohne camp, originally a military fort, were used as a shelter and hospital for the survivors after the liberation of the Bergen-Belsen concentration camp (DP Camp). Some of the buildings currently serve as a refugee quarters. This additional dimension of overlapping and condensing history allows for a different, differentiated artistic discussion of the familiar subject.

Following the exhibition, a catalog will be published, published by the Bergen Belsen Memorial. A selection of the photographs will be shown in the memorial from 27.01.2016.

We thank the State of Lower Saxony and the Lower Saxony Foundation for the generous promotion of the project.

Tue Greenfort – zwischen Stein und einer harten Sache

(Between a Rock and a Hard Place)

12.09 – 08.11.2015

Exhibition of Tue Greenfort

On the occasion of the inauguration of the new landscape art work ” Vitalismus Mechanism ” by Tue Greenfort, the Kunstverein presents a selection of works from the years 2001 to 2015.

In his work, the Danish artist has always been critical of our perception of nature and of issues such as ecology and dealing with resources. In the aesthetically often simple, form – clear works of art, complex connections are always found, which are based on extensive research into a concrete place, a specific matter, a real state.

“Only by rethinking the abstract, controversial, now so familiar concept of ‘environment’ can a fundamental paradigm shift take place. The excavation and lack of a critical depth of the term allow a new formulation of the problem. “(Greenfort)





Stella Gilfert, Blas Isasi Gutiérrez, Dieter Kiessling, Mandy Krebs, Lucie Mercadal, Esra Oezen, Marko Schiefelbein, Corinna Editing, Kim Schoen, Helena Wittmann Curated by Corinna Schnitt

9 April – 12 June 1016

For the exhibition “Komma” the artist and Braunschweiger university lecturer Corinna has selected works by ten artists and former students who deal with phenomena of everyday life. The exhibition presents videos, photographs and sculptures, the visions of life drafts, observations of everyday life as well as memories of the past.

From the loose assignment of the works arise references, which allow the viewer to throw a new view on the own life-reality. What is the world around us? How do we wish the future? How is our present experience shaped by hopes and wishes for the future?

The exhibition title “Komma” is borrowed from grammar. The comma serves the comprehensibility, the structuring of a sentence and can essentially determine its meaning in terms of content. There is a rhythm and the speech melody. In the exhibition “Komma”, for example, the media shifts, gaps and imperfections are the ones that make the meanings of what is shown.

Corinna Schnitt (* 1964) has become acquainted with video installations and films that show the absurdities of social relationships and their media representation in concise, precisely observed productions. She is an artist, a university lecturer at the HbK Braunschweig and curator.

The “schnittraum”, founded in 1997 in Cologne, whose program of exhibitions was realized with a changing curatorial team, presented the latest film and video work, organized several weeks of series with lectures, performances and film screenings and was available to artists as a guest.

Simon Faithfull ZERO


26 June – 28 August 2016
Simon Faithfull (* 1966 in Ipsden / GB) takes us on expeditions around the world, into the depths of the seas and on The limits of the atmosphere. His works revolve around methods of research and experimentation. One can regard it as an attempt to view our planet as a sculptural object, to extend its extremities and to report its limits, but also to explore daily life and the secular, to connect spaces and to shorten distances.

Michael Schmid MOMENT,


10 September – 16 October 2016

In the photographs of Michael Schmid the motifs are unmistakable.
His subjects are often objects of everyday life: a lamp, a stove, a rubber glove, etc. These “objects of experience” (Krauss) are isolated in the center of the picture space, where nothing distracts their presence.
The photographs contain a definite concentration on the essentials, whereby an interior – which we should never lose sight of when we look at photographs – is here only on the surface, in the “prominent place of an understanding about the one that is given to it Media conditions “(seal). In this thin layer, light and chemistry are condensed into one image.
From: Yvonne Bialek, “how to show” – an answer with the pictures of Michael Schmid, 2015.


Tillmann Terbuyken TONDOS

29 October – 18 December / January & February 2017 TT_Neunkirchen_11_2_1

Since spring, Tillmann Terbuyken (* 1978 in Munich, living in Hamburg and Amsterdam) has used the studio in the former Hühnerstall of the Springhornhof to prepare his individual exhibition. Here paintings, collages, decollages, as well as buildings made of different materials were created. Terbuykens objects can be used in ever new constellations and spatial situations. From the middle of October onwards, he will add them to the architecture of the Springhornhof as a whole structure consisting of panels, more or less functional furniture and variable visions.