Occupation Occupancy, Orchestrating Overpowering and Ownership of Utopias

   The next show with my participation – and more Funny Germans:









Belegung, Bespielung
Bemächtigung und Besitzung von


In cooperation with: Saxon Academy of the Arts, Custody and StuRa TU Dresden, Kunstfonds and Kupferstich-Kabinett of the Dresden State Art Collections

Opening Thursday, 7 November 2019, 8 pm Motorenhalle, Wachsbleichstraße 4a, 01067 Dresden, www.motorenhalle.de


– We would like to take up the spirit of optimism of 1989, the energy of that time, shaped by hope, the striving for change and the freedom to create oneself, and ask what the utopias of that time can mean for us today. Which are still important today or again, which were not formulated in 1989/90 and were missing in the period that followed? What do the events of that time have to do with today’s situation, especially in eastern Germany? Can utopias today serve as models for civil society and/or political action? We approach the themes and questions with artistic means in word, image, music, film, lecture, conversation or discussion.

Together with our cooperation partners, numerous artists future hostess John Klein and a performance by Martin Zet we will open the exhibition part of the project. And the Verkauf-Musique from Prague will provide the sound with its piece “Die Maketten 2019”! Déjà-vu on some things we knew from totalitarianism, recalling against oblivion, two men talk about absurd machines. It is a bit dangerous, secret, conspiratorial.

Künstler*innen/ Artists: Razvan Anton, Cluj-Napoca, RO | Dieter Bock von Lennep, Dresden | Christian Borchert | Benedikt Braun, Weimar | Jan Brokof, Berlin | Susan Donath, Dresden | Markus Draper, Berlin | Thomas Florschuetz, Berlin | Matthias Leupold, Ronald Galenza, Berlin | Hubertus Giebe, Dresden | Göran Gnaudschun, Potsdam | Eberhard Göschel, Dresden | Eberhard Havekost | Frenzy Höhne, Leipzig | Gregor Kasper, Berlin | Krištof Kintera, Prag, CZ | Via Lewandowsky, Berlin | Zbigniew Libera, Warschau, PL | Irène Mélix, Dresden | Falk Messerschmidt, Leipzig | Csaba Nemes, Budapest, HU | Fabian Reimann, Leipzig | Peter Rohn, Potsdam | Elske Rosenfeld, Berlin | Andreas Rost, Berlin | Rainer Görß und Ania Rudolph, Berlin | Johan Schäfer, Leipzig | Luise Schröder, Leipzig | Sandra Schubert, Leipzig | Joachim Seinfeld, Berlin | Tobias Stengel, Dresden | Daniel Theiler, Leipzig | Clemens von Wedemeyer, Berlin | Claus Schöning-Lam Yong, Dresden | Martin Zet, Libusin, CZ

Programmteam/ Team: Denise Ackermann, Frank Eckhardt, Stefan Eder, Bertram Kaschek, Gwendolin Kremer, Magdalena Piper, Nils Werner

Duration: 7.11.2019-8.3.2020, Opening hours: Wed, Th & Fr 15-19 h, Sat & Sun 14-18 h


































































The project is sponsored by:
Landeshauptstadt Dresden, Amt für Kultur und Denkmalschutz, Deutsch-Tschechischer Zukunftsfonds, Bundeszentrale für politische Bildung, Bundesministerium für Familie, Senioren, Frauen und Jugend Europäische Union, Europäischer Sozialfonds „Europa fördert Sachsen“, WERKHAUS Design + Produktion GmbH, Freistaat Sachsen, Landesprogramm „Revolution und Demokratie“, Kulturstiftung des Freistaates Sachsen, Ostsächsische Sparkasse Dresden, Pigmentpol Sachsen GmbH.
Diese Maßnahmen werden mitfinanziert durch Steuermittel auf der Grundlage des von den Abgeordneten des Sächsischen Landtags beschlossenen Haushalts. These projects are co-financed by tax revenue on the basis of the budget adopted by the members of the Saxon Landtag.



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Exhibitions: “HeimatReisen” in Dresden and “Facing the Future” in Berlin

shows in April:


HeimatReisen: Berlin Friedrichshain 1

HeimatReisen: Berlin Friedrichshain 1

Kürzlich wurde ein Album der besonderen Art gefunden. Ein Reisender quer durch Deutschland hatte offenbar seine Eindrücke hinterlassen. Was für den Betrachter verwirrend wirkt: Ob vor dem Palast der Republik oder am gesprengten Bunker von Hiddensee oder im Bremer Schlachthaus oder in den Alpen oder an welchen Orten im Land auch immer, es scheint immer dieselbe Person in unterschiedlichsten Verkleidungen auf den Bildern zu posieren. Ob dem dargestellten Geschehen ein tieferer Sinn zugrunde liegt, Rituale etwa oder performative Kunst, kann nicht mit letzter Gewissheit behauptet werden.
So oder ähnlich könnte ein späterer Versuch  kulturhistorischer Einordnung der Fotos klingen, wenn nicht klar wäre, dass es sich um die Fortsetzung der langjährigen Arbeit von Joachim Seinfeld an vermeintlichen Identitäten, an Ritualen, an Absurditäten in  deutscher Gegenwart und Geschichte handelt.

Frank Eckhardt


Opening Friday, April 8 2016, at 8 pm
at Galerie Adlergasse
Introduction: Frank Eckhardt

April 8 – May 20 2016
Opening hours: Monday to Friday 10 am – 1 pm and 4 pm – 8 pm

riesa efau Galerie Adlergasse
Wachsbleichstraße 4a · 01067 Dresden
Tel. 0351 – 866 02 11 · Fax 0351 – 866 02 12
e-mail: galerie@riesa-efau.de

supported by Landeshauptstadt Dresden, Amt für Kultur und Denkmalschutz


Facing the Future

Facing the Future
Facing the Future


with Irina Birger, Gil Heitor Cortesão, Satoshi Fujiwara, Yorjander Capetillo Hernández
Philippe Huart, LawickMüller, Daecheon Lee, Wolfgang Neumann and Alisa Resnik

Opening Saturday, April 16, 2016 at 7 pm

April 16 – May 21 2016
Opening hours: Tuesday to Friday 2 pm – 7 pm, Saturday 12 am – 6 pm

Fasanenstrasse 37  10719 Berlin
+49 (0) 30 –
Mobile +49 (0) 175 – 43.47.782



Still Available:

144 pages, softcover, 10 €
available at Galerie M, Marzahner Promenade 46, Berlin


Cover StadtRandLeben





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Past Events

(curated by Andrea Domesle & Frank Eckhartd)

Emil Filla Gallery in Ústí nad Labem

Faculty of Art and Design at Jan Evangelista Purkyně University in Ústí nad Labem
People to Visual Art — Visual Art to People
Opening: Wednesday, October 21, 2015 at 6 pm
The exhibition runs until December 2, 2015

When Germans Atre Having Fun: World War I, 1915 Drugs in the Trench

When Germans Are Having Fun: World War I, 1915 Drugs in the Trench















Participating Artists:
Kader Attia (FRA), Tatiana Fiodorova (MDA), Martin Chramosta (SUI), Sabine Groß (GER), Group San Donato,
Evgeny Umansky (RUS), Małgorzata Łuczyna, & Jacek Złoczowski (POL), Ruppe Koselleck (GER), Martin Krenn (AUT),
Olga Alia Krulišová & Jana Mořkovská (CZE), Anton Kuznetsov (RUS), Jérôme Leuba (SUI), François Martig (BEL),
Radenko Milak (BIH), Mladen Miljanović (BIH), Joachim Seinfeld (GER), Deborah Sengl (AUT), Martina Wolf (GER)

Opening hours:
Tue — Fri 10 am — 6 pm, Sat 1 pm — 5 pm
Free admission each Wednesday

Emil Filla Gallery, Armaturka — culture factory, building
SCHIFR-AC, s. r. o., Jateční 49, 400 01 Ústí nad Labem
www.gef.cz / www.armaturka-usti.cz






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Georg Teiner about Neighbours

silver gelatine print on mixed media

Berlin: Gruenberger Strasse 50/V

Read Georg Teiner’s article Zeit der Erinnerung about the Neighbours Series on BOLD – THE MAGAZINE, page 56 ff:




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Flavia Montecchi about Neighbours, the 2011 exhibition at artMbassy, Berlin


19th – 29th November 2011
Opening Saturday 19th November 2011, 7-10 pm
The historical account of the the past happens through the theorising of events handed down from olden times to the present. To understand such events, we are used to a vertical reading of the involved events: History takes shape in front of our eyes as a pyramidal diagram of dates, with a strict cause and effect relationship.
In the works of the artists Joachim Seinfeld and Raul Gabriel – presented together inside of the spaces of artMbassy in an international scale double solo show – the reading of History happens through the superimposing of visual stratifications, able to generate a syntactic structure both mental and horizontal at the same time. As far as the series “Neighbours” is concerned, in the works of the German artist Joachim Seinfeld, the conservation of the past times can be compared to an atypical practice of the restoration, which realizes the conservation of the matter in the opposite way. After studying at the Academy of Fine Arts in Florence, the artist felt the need to preserve a part of the history of his city and not only of that, working on the most lived surfaces of buildings falling into decay. After preserving some parts of the removed walls, the artist applies on them rubble pictures and material of archives with the emulsion, creating two-dimensional images taking their names from the address in which the initial rip took place. A meticulous and arbitrary practice of restoration starting from a private search in order to open itself to the public sphere.
The conservation of Joachim Seinfeld opens a wide range of imagination that makes user aware of the historical and architectural memory of his city, because of a strange fusion of particulars both material and visual, contained in turn in a second image: the worked find and what it was. The artist writes: “It is therefore also a work about what we want to do with our cities, what do we want to preserve…”. Memory and current events meet themselves in an invisible frame collecting in part a present which is ruined from the events – the wall with what the artist has removed – and partly a past immortalized from someone else’s lens – the surface on which the artist works. The final image is a superimposition of suggestions recalling Berlin’s social and aesthetic liveability, embracing practices of popular art and personal archives search.
To seal the frames of this two-dimensional and dream-like trip we have the still of the video of Raul Gabriel’s “Back2Berlin”. The white shape of a bike caught on the window of an urban overground wagon appears on a close-up shot over a series of Berlin landscapes running behind during the trip of the artist to the airport. Urban noises mixed with sound fragments gradually emerging and revealing their disturbing historical root. The stratification of time and memory a horizontal reading, taking on an dream-like power tank to the use that the artist makes of the reverse. The visual levels of the video-image keep the bidimensionality of Joachim Seinfeld’s works, while the movement on which they realize themselves activates a “hypnotic flow” underlined from the leitmotiv of the background sonorities: the power of memory comes back right where the landscape seems to dart away with the journey of the train.
Raul Gabriel’s message is focused on the power suggested from the symbol “bike”. It is not the train the leitmotiv of its trip in spite of the fact that it is the real motor of the movement in the video: it is the “bycicle-formula” that “imposed on the city, clashes with its message of enviromental reconciliation and seems to invite to an ecology of the mind before any”. (Raul Gabriel).
Both works, on show together inside of the spaces of artMbassy, use the narrative power of the still image multiplied with many layers of visual stimulation which causes a “mental movement” moving towards a memory that turns from individual to general. A different key to an understanding of the everyday life of a city in endless movement, searching its past and its surroundings, to cross it later in a present which is visionary but faithful to the vital soul beating inside of it.
Flavia Montecchi

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Now in the Collection of the Santa Barbara Museum of Art:

From the series Berlinbilder: Auguststrasse 52 VI

and from the series German Gemutlichkeit: Musician and Artist I

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Joachim Seinfeld Explores Identity and Historical Reality by Jaiyant Cavale

Joachim Seinfeld Explores Identity and Historical Reality

by Jaiyant Cavale

Joachim Seinfeld Explores Identity and Historical Reality

Self identity is a concept that is flawed, like many others in modern psychology. Identity as a singular concept cannot support itself unless a group of identities that exist within a person are recognized. A singular identity is neither practical nor is it helpful, for that would only make a person rigid and less conforming to the environment around them. The issue of identity is of special importance in a country like Poland which has witnessed history unlike most other countries have.

Poland lies caught between the identity of being a member of the European Union, that of being invaded by the Germans, the identity of being a spectator of millions of Jews killed in the death camps, the identity of cold and long winters of death and destruction which are beyond human comprehension. Poland and other Eastern European nations have gone through changes that most countries have not seen in decades.

Since the 90s, Eastern European nations have struggled to come to terms with a globalized environment while trying to leave behind a past that was riddled with war crimes, communism and secret police. In fact, people in these areas are confronted with so many socio-political and cultural influences, each contradicting the other, that people would not realize the many identities within them.

Joachim Seinfeld’s Beisl-Ba?agan was an exhibition that featured a journey through the Polish experience of life, from within and from outside. Joachim tried to explore the differences and similarities between being a traveler, a tourist, a spectator, a participant and an artist while he moved from towns and cities across Poland. Joachim used the photographs of Poland in the nineties and combined them with photographs of his own in the studio.

Using black and white photography in order to avoid color emulsion, he juxtaposed the idea of a tourist caught in a country and that of a native stuck and frozen in time, without realizing it. The photographs appear old, though they are from the nineties. This suggests the historical identitycreated by and for Poles, especially that of the World war. While doing so, the photographs explore and question the idea of identity formation and identity creation.

If one were to view these photographs as a tourist brochure, one could see Joachim in various cities of Poland trying to fit in the local landscape. If one were to watch it from the eyes of a German, the perception would again be different, with thoughts harking back to the fences and gas chambers. It is indeed significant for a person with Jewish identity to explore Poland, or even some other nation that is closely linked to his ancestors’ plight.

Identity could be a monstrous tool for the annihilation of peoples. Those who do not fit in to the image of the ideal identity can be exterminated on the basis of their identity being unacceptable. Homosexuals, Jews, Gypsies, Handicapped people and others were exterminated by the Nazis for they did not fit into the concept of an ideal identity. Ironically, it is almost impossible for a person to have a single identity. If the Nazi officer who ordered for the transporting of thousands of Jews to Auschwitz found the idea of German national identity suffocating, he perhaps would have chosen to flee the situation and avoided committing the crime.

Joachim’s Beisl-Ba?agan does not provide answers but poses questions to these assumptions on self identity. If one were to acknowledge and accept the sub identities and alters each person has within them, one would see a more accepting and liberal attitude. The traveler finds a new meaning and identity in each o the photographs. It is up to the viewer to decide if the traveler or character embedded in the landscape or natural surface is a reflection of his own identity or the identity he creates for others.

The surface or landscape explores the identity that is set within an individual or a person. The character or the traveler explores these surfaces, and each time finds a new identity within him. In fact, each viewer could find a different person in the photographers. With such multitude of identities and sub identities, the question of a national identity remains negated. Joachim Seinfeld held the exhibition titled “Beisl-Ba?agan” to explore these notions and ideas about identity and historical identity which are not limited to Poland, but across cultures.

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