Tag Archives: Annika Kahrs


Schering Stiftung, Berlin

September 14 – November 26, 2023



In her solo exhibition, artist Annika Kahrs presents a new video work interpreting – in collaboration with the composer Louis d’Heudières and musicians from Los Angeles – the acoustic signal that helped make gravitational waves audible for the first time. Dr. Keith Thorne, physicist at the US-based LIGO (Laser Interferometer Gravitational-Wave Observatory), serves as scientific consultant for Kahrs’ artistic-musical exploration of gravitational waves. In 2015, LIGO was the first to translate gravitational waves – waves in the tissue of space-time that are created, among other things, by colliding black holes and that “travel” at the speed of light – into acoustic signals.


Kahrs uses the acoustic recordings of astrophysics to raise fundamental questions about how they stimulate our imagination and provide insight into events that are difficult to imagine. Kahrs sensitizes the film’s viewers to the fact that it is precisely such “unusual” sounds that always also challenge our understanding of hearing, sound, and not least music. In the words of scientist Keith Thorne, LIGO could indeed be seen as the quietest concert hall on Earth, detecting an extraterrestrial sound that is filtered out of a wealth of terrestrial background noise with maximum precision.


In her films, installations, and performances, Annika Kahrs deals with sounds in the broadest sense of the word. She is interested in sounds with special properties, including sounds in the infrasonic range, but also in sounds that, thanks to their physical properties, express a phenomenon such as the gravitational waves described above. Kahrs approaches these acoustic phenomena via the medium of music: her work opens an entryway into inaudible and hardly imaginable (sound) worlds, while also referring to both the possibilities and limitations of the audible.


The video work presented in the exhibition was created as part of her 2021 Villa Aurora Fellowship in Los Angeles and is made possible with support from MOIN Filmförderung Hamburg Schleswig Holstein and the Schering Stiftung.



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Annika Kahrs

Kunsthalle Wilhelmshaven

08.07 – 10.09.2023


Fluttering birds that appear harmlessly cute before they attack … Who doesn’t remember Alfred Hitchcock’s masterpiece The Birds? The film, which is still impressive today, shows the ambivalent fascination that feathered creatures exude – they are familiar yet mysterious, tame yet wild, beautiful but eerie. Whether in film, music, literature, painting, graphic art or photography, birds play an arguably greater role in the arts than any other animal. Their ability to fly evokes admiration and longing. By easily overcoming long distances, they escape human observation and lead mysterious double lives on different continents. Birds’ acoustic potential – from singing to speech imitation – is also impressive.


The exhibition CHIRPING. ART FROM A BIRD’S-EYE VIEW is dedicated to a range of encounters between birds and humans. It shows artistic perspectives from painting, graphics, sculpture, photography, video, music and performance in works that go far beyond a naturalistic depiction of the creatures. The exhibition deals with the human dream of flying, communication between humans and animals, the threat posed to birds by humankind, birdsong, hybrid beings and extinct species.


Marina Abramović | Ida Applebroog | Peter Bartoš | Anna Clyne & Yo-Yo Ma | Mark Dion | Gino de Dominicis | Valie Export | Matthias Garff | Annika Kahrs | Olga Karlíková | Eva Koťátková | Jochen Lempert | Diana Lelonek | Via Lewandowsky | Ana Mendieta | Karel Miler | Jan Mlčoch | Wolfgang Müller | Yoko Ono | Jan Ságl | Yehudit Sasportas | Julia Steiner


Curators: Pavlína Morganová | Petra Stegmann
In co-operation with Institute for Avian Research “Vogelwarte Helgoland”


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Maison Diez Company, San Miguel Chapultepec, Ciudad de México

18/04 – 13/05/2023


Brooms, mattresses, sheets and birds, una exposición colectiva con obras de Emilio Gómez Ruíz, Arturo Hernández Alcázar, Annika Kahrs, Chantal Peñalosa y Martin Soto Climent.


Organizado por Andrea Bustillos y Polina Stroganova como parte del programa satélite del Festival TONO (CDMX 2023). Con el apoyo de Maison Diez Company.


Pensemos en lo poético del polvo; un colchón que se ha vuelto instrumento; los sonidos intentando ser imágenes; pájaros escuchando música y una danza en medio de la tormenta. Imaginemos una exposición íntima que se enfoca en el potencial de lo efímero y conjuga a cinco artistas cuyo trabajo se conecta a través de la sensibilidad de lo performativo: la complejidad de una simple acción, lo escultural del movimiento, la evocación de lo imaginario.


— Andrea Bustillos y Polina Stroganova


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Nassauischer Kunstverein Wiesbaden, Alemania

27/01 – 16/04/2023


Behind the complex title of the exhibition, Annika Kahrs is showing a cross-section of her work from the last 10 years at Nassauischer Kunstverein Wiesbaden. Her video Le Chant des Maisons, created on the occasion of the 16th Lyon Biennale 2022, will be shown for the first time in Germany. In addition, Kahrs developed a new production of a series of glass works exclusively for Wiesbaden in close collaboration with the Taunusstein-based glass studio DERIX.

Her performances, film works, sound installations and objects show in many ways the importance of music and sound – acoustic information – in different social, cultural and political structures of coexistence. Familiar ways of understanding, listening habits and patterns of behaviour are interrupted and finally re-found. From the resulting shifts, discontinuities and ambiguities, the interactions between expectation and fulfilment, routine and failure resound.


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Babylon, Big cinema hall, Berlin

13/01/2023, midnight

Admission free


We are delighted that Videoart at Midnight will start the 2023 program with Annika Kahrs. In videos, installations and performances, she conduct research at the borders of what we generally call music, asking about the cultural and social function of music, its communicative aspects and its formal composition. She is interested in questions of when music starts, where does it emerge, what happens at the border of mere noise. In this context, the relationship between humankind and nature, the poetic and aesthetic dimension of natural science, as well as social and political structures in various contexts are important. A link between these themes are methods of interpretation and translation – understood both as artistic means and as the construction and perception of everyday life. Sound is used here as a means of communication, music as a language serving as both, outlet and metaphor.


Annika Kahrs will show:


Strings, 2010, 8:20 min
Infra Voice, 2018, 3 channel video installation, sound, 10:35 min
our Solo, 2021, video and 5 channel sound installation, 24:25 min Sunset Sunrise, 2011, 1:41 min
the lord loves changes, it’s one of his greatest delusions, 2018, 15:49 min


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Annika Kahrs

Le Chant des Maisons, 2022

4K, color with sound, 24:30 min.


Biennale de Lyon: Manifesto of fragility

September 14 – December 31, 2022



This project was produced by La Biennale de Lyon on occasion of the 16e Biennale d’Art contemporain 2022 curated by Till Fellrath and Sam Bardaouil


For the Lyon Biennale, Annika Kahrs has conceived a video installation that shows a sonic and visual process of construction and deconstruction, performed by different musicians and multiple carpenters. These groups come together at the church of St. Bernard in Lyon. During the performance, the carpenters build a wooden structure resembling a house inside the church, while the musicians react to and with them. A visual and sonic mixture of tense and loose moments, choreographed and coincidental encounters, as well as melodies, drone sounds from organ pipes, voices, hammers, and screwdrivers within the majestic reverb of this space materializes on screen. The place where the performance takes place – St. Bernard – is chosen very carefully and connects directly to the theme of the Biennale “Manifesto of fragility” : the history of this place tells a long story of deep entanglements of class, resistance and independence, faith and institutional religion, as well as processes of social change and the importance of communities within it. By constructing a very basic structure of a house – or rather a place – during and as part of the performance, the importance and the endless processes of finding and forming new places for voices – translated both through action and sound – are put into spotlight. When entering the church for the first time Annika Kahrs was immediately fascinated by its atmosphere that was still connected to the feeling of being in a church, but already charged with something completely else. For her this church is first of all a place of in-between. A place of transformation. The traces of its former purpose are clearly visible: organ pipes are laying around, christian statues are still standing on columns, some of them more stored than being presented, masterful crafted stained glass windows shine in colors, although some of them are broken. One can almost hear how it used to sound in here – because we know how those places sound. For her work, Annika Kahrs aimed to fill this place again with common sounds, new sounds and people who shape this space – acoustically and visually – into something else for a moment, but also emphasize its liminal state. The history of the church and of the neighbourhood also plays an important role in the concept: La Croix-Rousse was a district for many different religious communities (the hill that prays) before it became crucial as the most important place for silk production (the hill that works) and was inhabited by the community of the Canuts. After the uprisings of the Canuts between 1831, 1834,1848 the church St. Bernard was build on request of the Canuts to have a religious place for their own community within their district. But the other reason, coming from outside of the community, was to calm down the conflicts resulting from the revolts: “In reality it seems that the wish for a new church didn’t only come from the people, but the idea was to rather use the religious institution to undermine revolutionary ideas and revolts”.



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how to live

Annika Kahrs

how to live in the echo of other places

a project by IMAGINE THE CITY

01 Jun–04 Sep 2022



01 Jun 2022, 7.30 pm


Schuppen 29, Baakenhöft, 22457 Hamburg


Free entry



Now open to the public for the first time since 2017: in HafenCity’s last unrenovated warehouse building, Annika Kahrs presents how to live in the echo of other places, a two-part exhibition that alternates a ‘concert within the space’ and a large complementary video projection on the façade. Throughout the summer, the artist will use the special atmosphere of Schuppen 29 at Baakenhöft to make other people’s fleeting experiences palpably accessible to visitors. Referencing personal stories she explores the peculiarities of acoustic and visual recollections and how they relate to particular places. For this spatial installation, ten Hamburg musicians have composed their own works in dialogue with Annika Kahrs. To this end, each musician spoke at length with someone to whom they felt a particular attachment about places with personal memories. Short pieces were created on this basis, which Kahrs then translated into a spatial arrangement with the assistance of composer Louis d’Heudières.



With Ferdinand Försch, Douniah, Louis d’Heudières, TINTIN PATRONE, Tam Thi Pham, Jesseline Preach, Carlos Andrés Rico, Freja Sandkamm, Nika Son and Derya Yıldırım.



The video installation is based on short texts about memories of a particular place during a sunset, which musicians, friends and colleagues sent in to Kahrs for the purposes of this work. The artist, for her part, looks at the question of whether and how intense visual impressions can be bound to specific locations in our memories. The anonymised material is projected word for word onto a digitally created sunset in a non-specific location. In the course of the loop, the scenes – some of them special, others all too quotidian – are gradually assembled in the minds of the viewers.




Sound installation: 

Thu and Fri 5 pm to 8 pm

Sat and Sun 2 pm to 8 pm

for different opening hours imaginethecity.de


Video installation:

Thu–Sun from sunset to sunrise



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something new, something old, something desired


Group exhibition at Hamburger Kunsthalle, DE, with Annika Kahrs


18 Feb 2022 to 18 Feb 2024




The exhibition ‘something new, something old, something desired’ places the Kunsthalle’s important collection of contemporary art in an exciting dialogue with recent acquisitions of the latest works. The themes that come to the fore spotlight the urgent issues of our day: questions of understanding and communication, isolation and marginalisation, power and protest, utopia and structure. At the same time, the show explores (virtual) worlds and realities on the basis of architectural designs while addressing the tension between form and dissolution and focusing attention on the potential for interconnecting material and language.



Participating artists: Jan Albers, Fernando de Brito, Günter Brus, Nina Canell, Robert Cottingham, Stephen Craig, Jose Dávila, Edith Dekyndt, Thomas Demand, Simon Denny, Cordula Ditz, Peter Doig, Simon Fujiwara, Seiichi Furuya, Zvi Goldstein, Anna Grath, Christian Haake, Raymond Hains, Almut Heise, David Hockney, Karl Horst Hödicke, Annika Kahrs, Annette Kelm, Jürgen Klauke, Hans-Jürgen Kleinhammes  Bernd Koberling, Jan Köchermann, Jannis Kounellis, Jens Lausen, Jean Leppien, Almut Linde, Axel Loytved, Paul McCarthy & Mike Kelley, Annette Messager, Gerold Miller, Simon Modersohn, Robert Morris, Bruce Nauman, Cady Noland, Sigmar Polke, Tobias Putrih, Hannah Rath, Daniel Richter, Gerhard Richter, Grit Richter, Thomas Schütte, Richard Serra, Sara Sizer, Andreas Slominski, Paul Spengemann, Pia Stadtbäumer, Paul Thek, Wolfgang Tillmans, Philippe Vandenberg, Tilman Walther



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The 16th Lyon Biennale announces curatorial framework and participating artists, including Annika Kahrs.



Curated by Sam Bardaouil and Till Fellrath, the 16th Lyon Biennale ‘manifesto of fragility’ proceeds with the announcement of its curatorial framework, participating artists and institutional partners. The Biennale, opening September 2022 (14/09 – 31/12/2022), will expand beyond its customary venues in Lyon into locations throughout the city in order to welcome the participation of the broadest possible public.


‘manifesto of fragility’ is structured along two distinct axes that function as complimentary conduits for the Biennale’s consideration of fragility. A horizontal, geographical line carries the contributions of 87 contemporary artists from 39 countries engaging with the topic of fragility in a wide range of artistic practices. A vertical, temporal line will deliver more than 100 historical artworks and objects spanning two millennia on loan from several diverse collections in Lyon and abroad. The Biennale posits a point of intersection between the two axes to initiate a focused exploration of fragility within the context of the dazzling yet tumultuous 1960s era of Beirut’s so-called Golden Age, featuring 230 artworks by 34 artists and more than 300 archival documents from nearly 40 collections worldwide.


The artists taking part in the 16th Lyon Biennale bring diverse approaches to the focal theme of fragility that represent varied understandings of our current state of global uncertainty. The Biennale appeals to a broad coalition of international artists to share in building a nuanced patchwork of narratives illuminating moments of resilience in the face of social, political and environmental upheaval The artists gathered around the Biennale embody various faces of fragility, some in the issues they tackle, and others in the materials they use. What their works have in common is the potential to inform our thinking about generative paths of resistance.



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Riga International Biennial of Contemporary Art announces the name of the third biennial, participants and venues.


Annika Kahrs is amongst the participants of RIBOCA3 main exhibition, opening in July 2022.


The artists’ vision as the conceptual starting point of the exhibition allows the creation of the RIBOCA3 exhibition to be positioned as a space for experimental expressions free from preconceived ideas. The works on display at the Biennale will function in their own right, inspiring discussions that are not subject to the strict theme of the exhibition. The title Dignity Exercises emphasizes the idea that each work of art should be viewed separately, but at the same time they all fit into the concept and context of the biennial. René Bloks, the main curator of the Biennale, explains in more detail: “Looking back at history, gestures that show respect are often used to indicate that we are trying to understand each other, despite differences of opinion. The exhibition will feature voices from different generations and around the world, and it will be both harmonious and disharmonious when listening to the overall sound of the Biennale.”



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BNKR, Munich

19.6 -17.10.2021


The exhibition trilogy “The Architecture of”, curated by Sam Bardaouil and Till Fellrath, showcases artistic positions at the intersection of art and architecture. Each of the three exhibitions relates directly to different chapters in the evolving history of the exhibition building. The second part, “The Architecture of Confinement”, references the use of the building as an internment camp during the denazification policy period from 1945 to 1948.


A new work by ANNIKA KAHRS, specifically commissioned for this exhibition explores the connections between space and sound in a period of isolation. The video and sound installation our Solo experiments with mixing the perception of music in a classical concert hall and of music played in a private setting. Four professional musicians are seen, who seemingly enter into a dialogue across physical distances. Three of these musicians play alone in their private homes, to practice pieces of music and melodies, and improvise individual fragments of sound. Their music seems to transcend through the walls of an empty concert hall, and onto the stage of an opera singer. Different melodies emerge and invite her directly to interact with these domestic performances and intimate moments. The presentation of the work in the basement of BNKR blurs the boundaries between listening and performing, indoor and outdoor space, and between private and public music.



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Kunstmuseum, Bonn

27.05. – 05.09.2021


The exhibition Sound and Silence focuses on the theme of stillness and silence in the field of contemporary art. The presentation has been realized in view of the 250th birthday of Ludwig van Beethoven and is based on the composer’s progressing deafness as a starting point for discussing the question of the relation between sound and silence, the productive and at the same time destructive force of stillness and the impossibility of complete silence. In a broad panorama of media comprising installations, performances, videos, films, photographs and drawings, the exhibition – which is not meant as a contribution about the history of music – makes the sound of silence perceptible in many different ways: as monotony, repetition and repository; as pause or overlapping and cluster, as booming stillness or ruined sound; in the interplay between meditative immersion, compelled silence and quiet resistance; and, not least, as ambivalent expression of meaning and meaninglessness.


List of artists:

Marina Abramović, Absalon, Nevin Aladağ, Arturo Hernández Alcazar, Dave Allen, Jennifer Allora & Guillermo Calzadilla, William Anastasi, Laurie Anderson, John Baldessari, Benjamin Bergmann, Jane Benson, Joseph Beuys, Tatiana Blass, Manon de Boer, Maya Bringolf, Christoph Büchel, Julia Bünnagel, John Cage, Hanne Darboven, Bogomir Ecker, Robert Filliou, Terry Fox, Al Hansen, Sofia Hultén, Pierre Huyghe, Annika Kahrs, Idris Khan, Christina Kubisch, Bernhard Leitner, Alvin Lucier, Christian Marclay, Teresa Margolles, Kris Martin, Jonathan Monk, Peter Moore, Janis Elias Müller, Carsten Nicolai, Yoko Ono, Dennis Oppenheim, Nam June Paik, Susan Philipsz, Ricarda Roggan, Anri Sala, Erwin Schulhoff, Sigrid Sigurdsson/Gunnar Brandt-Sigurdsson, Juergen Staack, Jens Standke, Timm Ulrichs, Jorinde Voigt, Gillian Wearing, Samson Young, David Zink Yi, Artur Żmijewski


A comprehensive catalog with essays on the exhibition’s subject and texts on the artists accompanies the exhibition.


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silence is the sound of a missed opportunity – Annika Kahrs


April 17 – May 16, 2021


The project is the first part of the series entitled MUSIC WITHOUT MUSIC, which will be presented by Yellow Solo in 2021 and 2022 with the participation of the following artists: Annika Kahrs, Dani Gal, Arnold Dreyblatt, Anri Sala, Hassan Khan, Song-Ming Ang and Ari Benjamin Meyers. 




“silence is the sound of a missed opportunity” is a new work by Annika Kahrs, and it is also a claim made by marketing companies advertising for on hold music to fill seemingly empty waiting time on the phone.


In Annika Kahrs’ work four musicians, on hold themselves, are not only waiting but simultaneously creating and recording their own on-hold music. The score is written by composer Louis d’Heudieres and is loosely based on the classic lightweight structure of on-hold music. The musicians are waiting for roughly an hour for an unknown connection that may never get resolved. The waiting experience is a friendly one, it is tailored to human needs, and adresses the existential questions that may creep up on you while in the limbo of a waiting line. With no need for a space filler or a time killer, the passive sphere of waiting turns into an active commitment. The musicians are playing for themselves while waiting, without knowing the overall listening experience that is only later accessible for the spectator.



ANNIKA KAHRS – silence is the sound of a missed opportunity.

Multichannel sound installation, 49 min

Open: April 17 – May 16, Fridays, Saturdays and Sundays, 12:00 – 18:00

Listening to the piece requires a prior email registration for a one-hour time slot and a same-day certified negative test result. Only one person can be in the installation space at a time, we provide hygienic conditions as well as adequate ventilation.

Registration: contact@yellowsolo.de



ANNIKA KAHRS – Please Hold

Live performance via phone call 

May 2, Sunday, 12:00 – 18:00

Performed by Laura Schuller and Phuong-Dan

The number to call will be provided soon.



Works streamed online by ANNIKA KAHRS

April 12 – May 16, 2021

the lord loves changes, it’s one of his greatest delusions

2018, 15:48 min

Infra Voice

2018, 10:35 min


2010, 8:20 min


2019, 17:23 min




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sesin melodim, seslerin yankım benim (tu voz es mi sonido es tu ruido es mi eco)


MIND the GAP, Hamburgo

21.10 – 13.12.2020


Instalación sonora de Annika Kahrs en colaboración con el músico Derya Yildirim.




La base de la instalación de sonido de 7 canales son las entrevistas que Kahrs y Yıldırım realizaron con los miembros de la familia de Yıldırım, sus padres, hermanos y primos, en Hamburgo. En las respectivas conversaciones se intercambiaron historias personales, específicamente preguntado sobre recuerdos sonoros y personalidad acústica. Estos se tradujeron luego en una compleja instalación de sonido en el estudio de sonido. La música se entiende aquí como una puesta en escena portadora de la memoria y un vínculo intergeneracional: qué canciones juegan un papel importante dentro de la familia, se transmiten a las siguientes generaciones y se reinterpretan, qué sonidos recuerdan los padres de su infancia en Sivas (Turquía), o los hermanos en Hamburgo.


sesin melodim, seslerin yankım benim (tu voz es mi sonido es tu ruido es mi eco) invita a los visitantes a acercarse a estos pensamientos y a escuchar el retrato de la familia de una manera temporalmente lineal y espacialmente vertical: cada piso representa a un miembro de la familia.



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An experimental exhibition format in two chapters


22.8 –11.10.2020


Kunstverein in Hamburg



The experimental exhibition Corona Sound System foregrounds the experience of listening while changing the visual experience of an exhibition. What is the purpose of the exhibition space and/or what can the exhibition space do in the context of sound? In an empty room with white walls, within the functioning exhibition architecture, there are seats scattered at the required distance. Here a group exhibition will be held from 12 p.m. to 6 p.m. A radio play takes place next to a concert; minimalist tones are replaced by a baroque piece; the ambience  of short pauses between pieces offers a moment to breathe deeply before getting involved in a new cosmos—just like in real life. These sounds are scattered in the room, one runs after another rather than side by side. We have to move back and forth between a total of five spaces that host these sounds—go there, linger, and then onto another place in the room, where the constellation of these sounds evokes new images from the last. Sound art can be experienced visually because it evokes different images in the mind of each individual visitor.


The exhibition Corona Sound System has no theme—except for concentrating on the different types of sound and their implicit possibilities.


Annika Kahrs and Wolfgang Tillmans both work in Hamburg. With her sound work My Favorite Music, Annika Kahrs deals with sound reinforcement and the acoustic appropriation of public spaces at Hamburg Hauptbahnhof. In 2001, areas of the main station began to be filled with classical ambient music in order to drive away people who slept or spent time there. She asks: whose private playlist do we hear at the train station? In Hamburg Süd / Nee IYaow eow eow Wolfgang Tillmans  mixes the ambient noises of the Hauptbahnhof and the surroundings of the Kunstverein with the playfully extended singing of Billie Ray Martin and himself.


Annika Kahrs’s piece is played daily at 14:17:00 – 14:35:31.


Participating artists: Die Apotheke, Jenny Beyer, Lucrecia Dalt, Mathew Dryhurst, Carola Ernst, Tobias Euler, Pascal Fuhlbrügge, Graindelavoix/Björn Schmelzer, Lawrence Abu Hamdan, Holly Herndon, Annika Kahrs, Felix Kubin, Hanne Lippard, Melissa E Logan, Robin Minard, Thies Mynther, Charlotte Pfeiffer, Robert Rehnig, Schwabinggrad Ballet, Nika Son, Mounira Al Solh, Jakob Spengemann, Veit Sprenger, Wolfgang Tillmans and C.W. Winter.



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“Escric amb rius i turons / sobre el paper de les planes”    Perejaume


La primavera ha estat marcada per una transformació radical de les nostres maneres de desplaçar-nos, relacionar-nos i intercanviar. De sobte, tot ha canviat. La nostra percepció de les coses quotidianes i també de les més rellevants es veu qüestionada. El que ens semblava essencial passa a no ser-ho. Ens hem adonat de la precarietat de la vida, hem conegut la importància de la solidaritat, de la família, dels nostres éssers estimats, del nostre entorn. També la natura i el medi ambient han pres el protagonisme que no tenien.


Davant d’això, ens hem atrevit a demanar als artistes de la galeria que participin en aquesta exposició que ara presentem, amb els treballs que han realitzat durant aquest temps d’aïllament social. Són respostes diverses a una mateixa pregunta, tenen en comú l’ús del paper com a suport, habitual per a alguns –com Victoria Civera o Perejaume–, inèdit per a altres–com Hannah Collins o Annika Kahrs–. 


La realització d’aquestes obres ha pogut esdevenir una via d’escapament, una eina per continuar treballant malgrat les dificultats i, a la vegada, permeten al públic introduir-se en la intimitat dels estudis i dels caps dels seus creadors. Són, en gran part dels casos, obres fetes a casa, amb les eines de casa, testimonis d’un moment únic i, esperem, irrepetible.


Pensa en la mida de l’univers, després renta’t les dents i vés a dormir’ pren el títol d’una obra de l’artista Annika Kahrs. A partir de l’humor, ens convida a reflexionar sobre l’equilibri entre els nivells micro i macro i sobre la recerca de sentit i d’identitat dins de l’univers insondable del qual formem part, reflexions totes aquestes que esdevenen fonamentals en el context actual.


El resultat d’aquesta exposició ha estat una sèrie d’obres molt diverses. En alguns casos, veiem que les temàtiques que preocupaven als artistes, abans de la pandèmia, han mantingut el seu protagonisme o, inclús en d’altres, mostren fragments del seu procés de treball i estan vinculats a projectes futurs.


En d’altres casos, trobem propostes que parlen directament del moment actual: reflexions sobre les relacions personals, la situació política, els missatges dels mitjans de comunicació o els col·lectius vulnerables com els infants i la gent gran.


Per últim, trobaríem també un tercer grup de treballs que es centren en l’observació de l’entorn més proper i de la natura.


Per a facilitar-vos més imatges i informació, contacteu amb galeria@galeriajoanprats.com


exposure: the fact of experiencing something or being affected by it because of being in a particular situation or place (Cambridge Dictionary)


Exposures és una sèrie de exposicions online que pretén reflexionar sobre temàtiques relacionades amb el context actual, i al voltant de la idea general de ‘El cos i l’altre’.


Exposures #01. La primera proposta és una adaptació del projecte que vam presentar fa uns mesos per a Loop’19, que es titula 26 mil anys llum. A les obres d’ANNIKA KAHRSALICIA KOPF i TERESA SOLAR, se suma en aquesta ocasió una obra de PEDRO TORRES. Aquesta exposició es podrà veure durant 15 dies.


26 mil anys llum reuneix una selecció de videos que vinculen històries o reflexions personals amb l’exploració espacial, la tecnologia i la ciència.

El títol de l’exposició, 26 mil anys llum, fa referència a la distància que ens separa de Sagittarius A* (Sgr A*), un forat negre supermassiu situat al centre de la Via Làctia, l’observació del qual sembla confirmar que els forats negres creixen absorbint-ne d’altres menors i estrelles. L’especulació científica entorn a l’espai exterior sovint s’acosta a la ciència ficció, tal com apareix en les obres que presentem.



Accés a l’exposició




Schirn Kunsthalle Frankfurt

29.1.2020 – 19.30h


For more than six years, the SCHIRN has served as a forum for national and international film­makers and video artists. Under the heading Double Feature, the latter present a work from their own oeuvre, followed by their favorite film. Already, films and videos by more than 50 guests have been shown. Double Feature is designed as a platform for various trends and forms of expression in film and video production which, with the dawn of digitization if not before, is now considered an art form in its own right. On the last Wednesday of every month and in conversation with the curators Katharina Dohm, Matthias Ulrich and guest curators, the invited artists provide extensive insight into their creative work, especially their interest in film.




Sound as a communications tool forms a central theme in the work of Annika Kahrs. Her performances, films, photo series and installations are often based on musical productions conceived as playful experimental setups. Music as a verbal form of expression functions at the same time as an outlet and a metaphor in all of this. At the Schirn, the artist will be showing her film the lord loves changes, it’s one of his greatest delusions (2018, 16 Min.), in which she adapts two pieces by American composer Julius Eastman.


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Annika Kahrs

Inauguració: 14.11.2019 de 18 a 21h

Exposició: 20 i 21.11.2019 de 11 a 20h i fins el 30.11.2019 amb cita prèvia (t. 932160290 o galeria@galeriajoanprats.com)

Lloc: Joan Prats Warehouse. Passatge Saladrigas, 5 Barcelona. Metro Poblenou



Amb motiu del Festival de Loop, presentem en el nostre espai Joan Prats Warehouse una selecció de vídeos i una instal·lació sonora recents de les artistes Alicia Kopf, Annika Kahrs i Teresa Solar que vinculen històries o reflexions personals amb l’exploració espacial, la tecnologia i la ciència.


El títol de l’exposició, 26 mil anys llum, fa referència a la distància que ens separa de Sagittarius A* (Sgr A*), un forat negre supermassiu situat al centre de la Via Làctia, l’observació del qual sembla confirmar que els forats negres creixen absorbint-ne d’altres menors i estrelles. L’especulació científica entorn a l’espai exterior sovint s’acosta a la ciència ficció, tal com apareix en les obres que presentem.


El vídeo d’Alicia Kopf Speculative Intimacy: An Understanding Of Control, 2019, proposa una perspectiva de ciència ficció emocional per originar nous relats al voltant de les interaccions entre els cossos, humans i no-humans. La pel·lícula se situa en un futur pròxim on les fronteres del públic i el privat han desaparegut, les vides transcorren en continua exposició. Michelle, la seva protagonista, investiga un concepte en crisi: ¿Què és la intimitat? i dialoga amb el seu company no-humà sobre aquest concepte.


Annika Kahrs presenta dues obres. El vídeo solid surface, with hills, valleys, craters and other topographic features, primarily made of ice, 2014, mostra  un planetari on es projecta un cel estrellat al centre del qual apareix una llum circular que semblaria la lluna però que resulta ser un focus. En aquesta obra de 2014, l’artista recorre a imatge i narració per fer un retrat de Plutó, la visió del qual estava a punt de canviar ja que New Horizons, una missió no tripulada de la NASA, s’estava dirigint a la seva òrbita. Finalment va sobrevolar-lo el 14 de juliol de 2015 i va poder, per primer cop, fotografiar-lo de prop. Fins al moment, les il·lustracions científiques del planeta es basaven en l’especulació.


L’altra obra d’Annika Kahrs és la instal·lació sonora think about two black holes colliding, then brush your teeth and go to bed, 2019, que està dividida en dues parts i que explora les ones gravitacionals. El 2015, l’observatori d’ones gravitacionals LIGO va anunciar la primera observació directa d’aquestes ones durant la col·lisió de dos forats negres. A la primera part, utilitzant un raspall de dents com a instrument, Annika Kahrs recrea el so de la seva detecció junt amb les dades d’àudio cortesia de LIGO. A la segona part, Annika Kahrs ha enregistrat entrevistes entre el Dr. Keith Thorne de LIGO i algunes persones que provenen de diferents àmbits.


En el vídeo de Teresa Solar Ground Control, 2017, l’artista es transforma en la bola d’argila que gira sobre el torn. El cos girant és acompanyat per narracions fragmentades que relacionen l’accident del transbordador espacial Columbia, esclatant en bocins a causa d’una fallada en el seu escut protector, amb les lesions personals patides per la mateixa artista. El títol Ground Control té un doble significat: fa al·lusió directa a la terra o argila i la pressió que s’exerceix sobre ella en treballar-la en el torn i també remet al centre d’operacions des del qual es monitoritza el desenvolupament del vol d’una nau espacial. A través del títol, aquesta experiència mínima de comunicació i equilibri conflictiu entre subjecte i matèria augmenta d’escala, vinculant-se amb els viatges espacials.






Alicia Kopf (Girona, 1982) viu i treballa a Barcelona. La dimensió expressiva de la seva obra es vincula a la seva formació en Belles Arts i en Teoria Literària i Literatura Comparada. Ha exposat a museus i centres d’art com Accademia di Spagna, Roma (2019), MAC A Coruña a la 15ª mostra d’art Naturgy (2018); Sala Mendoza, Caracas, Mazcul, Maracaibo (2017); CCCB, Barcelona, Museo de Antioquía, Medellín, Colòmbia (2015); Goethe Institute, La Capella i MACBA, Barcelona (2014); Fundació Tàpies, Barcelona (2013); Bòlit La Rambla, Girona (2011) o CaixaForum, Barcelona (2009). Recentment ha exposat a Azkuna Centroa, Bilbao, dibuixos de la sèrie ‘Conquest drawings’, dins de l’exposició ‘Nunca real/Siempre verdadero’ comissariada per Iván de la Nuez. Com a novel·lista, destaca la seva obra ‘Germà de gel’, publicada el 2015, amb la que va guanyar el Premi Documenta 2015, el Premi Llibreter 2016, el Premi Ojo Crítico 2016 i el Cálamo Otra Mirada 2017.


Annika Kahrs (Achim, Alemanya, 1984) viu i treballa a Hamburg. Ha rebut diversos premis i beques, entre els que destaquen Max-Pechstein-Förderpreis–Stipendium, de Zwickau, el 2019 i George-Maciunas-Förderpreis el 2012, donació de René Block. En 2011 va guanyar el primer premi de la 20 Bundeskunstwettbewerb del Ministeri d’Educació i Recerca d’Alemanya. Annika Kahrs ha participat en exposicions celebrades en museus i centres d’art internacionals com la Kunstverein de Kassel (2018), Kunsthalle Lingen (2017), Cité International des Arts (2016), Hamburger Bahnhof – Museum für Gegenwart, Berlín (2015), Kunsthalle Bremerhaven (2015), exposició On the Road, a Santiago de Compostela (2014), la Biennal de Curitiba, Brasil (2013), Hamburger Kunsthalle (2013), KW Institute for Contemporary Art, Berlín (2012), Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, Bonn (2011), Goldsmiths University, Londres (2011), i el festival Velada de Santa Lucia a Maracaibo, Veneçuela (2010).


Teresa Solar Abboud (Madrid, 1985) viu i treballa a Madrid. Ha estat resident i professora visitant a la Staatliche Akademie der Bildenden Künste de Stuttgart (2016), va quedar finalista del Premio Cervezas Alhambra de Arte Emergente (ARCOmadrid 2017) i del programa per a mentors Fundación Rolex (2016), va rebre la beca de producció de la Fundación Botín (2014), la del CAM (2011) i el premi Generaciones (2012). Actualment, presenta a Index, Estocolm Ride, Ride, Ride, una exposició individual que havia estat a Matadero, Madrid (febrer, 2018) amb el títol de Cabalga, Cabalga, Cabalga. Recentment ha mostrat Flotation Line a Der Tank, Basel (juny, 2018) i dins del programa Composicions del Barcelona Gallery Weekend (setembre, 2018) i ha format part de l’expedició de 2018 “The Current” organitzada por TBA21 -Academy. Ha exposat individualment a La Panera Lleida (2016), Matadero Madrid (2014) i CA2M Móstoles (2012) i ha participat a exposicions col·lectives a Haus der Kunst, Munich (març, 2018), a Kunstverein Braunschweig (juny, 2018), a la secció de „El futuro no es lo que va a pasar, sino lo que vamos a hacer‟ a ARCOmadrid (febrer, 2018), a Kunstverein München, Munich (2017), a Fundación Marcelino Botín, Santander (2016) i a Macro, Roma (2015), entre d’altres.


Exhibition: 01 September – 27 October 2019, at Kunstsammlungen Zwickau Max Pechstein Museum.



Annika Kahrs receives Max-Pechstein-Förderpreis–Stipendium, of Zwickau 2019.


Along the scholarship, an exhibition will be open with Annika Kahrs’ sound and video work “the lord loves changes, it’s one of his greatest delusions”.


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Sammlung Falckenberg

Deichtorhallen Hamburg

13.04 – 03.11.2019


Exhibition with :

Vito Acconci, Gabor Altorjay, John Bock, Claus Böhmler, Öyvind Fahlström, Harun Farocki, Jeanne Faust, Lee Friedlander, Gintersdorfer/Klaßen, Rosanna Graf, Britta Gröne/Peter Piller, Romeo Grünfelder, Christian Jankowski, Volko Kamensky, Naho Kawabe, Mike Kelley, Jon Kessler, Nina Könnemann, Till Krause, Vlado Kristl, Lene Markusen, Paul McCarthy, Aurelia Mihai, Ernst Mitzka, Vanessa Nica Mueller, Karina Nimmerfall, Wolfgang Oelze, Tony Oursler, Nam June Paik, Stefan Panhans Rotraut Pape/Raskin, reproducts, Rainer Korsen/Gerd Roscher, Oliver Ross, Gerhard Rühm, Swen Erik Scheuerling, Corinna Schnitt, Paul Spengemann, Hans Stützer, Mike Mandel/Larry Sultan, Inga Svala Thorsdottir, Helena Wittmann, Steffen Zillig


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Flat Time House, London

8.3 – 14.4.2019

Opening 7.3.2019 6.30-9pm


With contributions by: Louis d’Heudieres, Felix Kubin, Julian Mader Max Prediger, Marius Schwarz and Dr. Saskia Steinmann




For her first solo exhibition in the UK, Annika Kahrs presents the billion year spree, a selection of new works using film, performance and installation commissioned in response to and positioned throughout Flat Time House. For the billion year spree she has focused her research into John Latham’s holistic cosmology of time and the universe, and how this might be visualised through time-based music and the atemporality of scores.


The title of the show derives from a 1970’s science fiction encyclopedia by Brian Aldiss, a collection of past imaginings of possible futures. Kahrs brings together her research into Latham with other perspectives via the Max Planck Institute, Berlin, the realm of psychiatric neuroimaging, and the search for cosmic gravitational waves at LIGO. From these starting points her work focuses on systems or forms of communication, interpretation and translation. Using music and sound she shifts or assembles what we hear through a performative process, making timelines intertwine and auditory perceptions interact.


the billion year spree is accompanied by a series of performances, concerts and talks on music, sound and scores.


the billion year spree event programme


As part of her exhibition the billion year spree Annika Kahrs has invited a series of guests to create a special programme of performances, concerts and talks.

(All events are free or pay what you can)


9.3.2019 6-8pm Concert: Felix Kubin, Between Events


6.4.2019 7-8pm Talk: Annika Kahrs in conversation with Gareth Bell-Jones. 8-9pm  Book Launch: Marius Schwarz, eeeee books: Annika Kahrs


11.4.2019 7-8pm  Lecture: Dr. Saskia Steinmann of the Psychiatry Neuroimaging Lab of Harvard Medical School, Boston, Fluid boundaries of perception


13.4.2019 3-5pm & 6-8pm Two opportunities to attend performance and concert event with Louis d’Heudieres and Annika Kahrs. Concert: Louis d’Heudieres, it’s about time. Performance: Annika Kahrs, think about the size of the universe, then brush your teeth and go to bed



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Kunstverein in Hamburg, Hamburg

Performance 13.9.2018, 19h


Helga Maria Klosterfelde Edition, Berlin

Performance 28.9.2018, 19.30 h



Annika Kahrs’ new performance THIS IS A LOVE SONG negotiates the field of tension between the musical notion of romantic love and the actually lived communication in a partnership. Singing about love has been passed on since antiquity, with the idea of what love is repeatedly undergoing changes. Our present-day understanding of love as it is addressed in movies, pop songs or romantic novels has existed in its popular form only since the 19th century. Especially in pop music, love lyrics are the most widespread, often consisting in the simplified longing for and idealization of partner relationships, which Kahrs contrasts with the mundane and complex issues that a relationship involves.


For THIS IS A LOVE SONG, Kahrs stages a song recital, with the presentation of the songs shifting more and more to a discussion on the existing conditions between the performers.



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Kunstmuseum Kloster Unser Lieben Frauen, Magdeburg

8.9.2018 – 6.1.2019


In the course of the past decades the coexistence of the visual arts and music on an equal footing has resulted in a large number of artists whose work cannot be clearly allocated to only one of the two disciplines. Kunstmuseum Magdeburg presents these different themes concerning art and music by way of numerous examples from the fields of sculpture, installation and video in a major survey exhibition.


The title Ambitus means in music the vocal range of a voice or an instrument and stands for the range or the distance between the highest and the lowest note. In the exhibition AMBITUS. Art and music today. the range shows the diversity and variety of the participative artists and works of art.



Werner Amann, Cory Arcangel, Eberhard Blum, Candice Breitz, Robbie Cornelissen and Kees Went, William Engelen, Jonas Englert, Douglas Henderson and David Henderson, Annika Kahrs, Rainer Kohlberger, Christina Kubisch, Kaffe Matthews, Bjørn Melhus, Michaela Melián, Haroon Mirza, People Like Us (Vicki Bennett), Ute Pleuger, Anri Sala, Marc Sabat and Mareike Yin-Yee Lee,  Yehudit Sasportas, Per Olaf Schmidt and Sebastian Neubauer, Richard T. Walker.


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SAVVY Contemporary, Berlin

Exhibition 23.3 – 6.5.2018

Opening 23.3. 2018, 7pm

Performance Annika Kahrs the lord loves changes, it‘s one of his greatest delusions, 2018 

24.3.2018, 9pm


With: Paolo Bottarelli, Raven Chacon, Tanka Fonta, Malak Helmy, Hassan Khan, Annika Kahrs, Pungwe (Robert Machiri and Memory Biwa), The Otolith Group (Anjalika Sagar, Kodwo Eshun), Barthélémy Toguo


We Have Delivered Ourselves from the Tonal. Of, with, towards, on Julius Eastman is an exhibition, a program of performances, concerts and lectures as well as an upcoming publication that deliberate around concepts beyond the predominantly Western musicological format of the tonal or harmonic. The project looks at the work of the African American composer, musician and performer Julius Eastman beyond the framework of what is today understood as minimalist music, within a larger, always gross and ever-growing understanding of it—i.e. conceptually and geo-contextually. Together with musicians, visual artists, researchers and archivers we aim to explore a non-linear genealogy of Eastman’s practice and his cultural, political and social weight while situating his work within a broader rhizomatic relation of musical epistemologies and practices.


For the project, new substantial artworks and musical pieces have been commissioned and will be world-premiered in Berlin. These include a filmic work and performance by Annika Kahrs.


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Schloss Agathenburg

13.8 – 1.10.2017


Die Beziehung zwischen Japan und Deutschland hat ihre Wurzeln im 17. Jahrhundert, zur Zeit, als das Barockschloss Agathenburg erbaut wurde. Damals entdeckten erste Naturwissenschaftler, Mediziner und Künstler die Kultur des jeweils anderen Landes. In der Ausstellung Warum ticken manche Uhren anders treffen sich im Sommer 2017 vier japanische und vier deutsche Künstler aus diesen so verschiedenen aber historisch verbundenen Kulturen. Es entstehen überwiegend ortsbezogene Arbeiten für den Innen- und Außenraum. In einer Zeit, in der das Fremde und die Frage nach Identität und Heimat täglich in den Medien diskutiert werden, richtet diese Ausstellung ihren Blick auf eine kulturelle Prägung, in der die Konzentration auf das Wesentliche, auf Bescheidenheit und innere Achtsamkeit zentrale Aspekte sind.


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Exhibition Kestnergesellschaft, Hannover

Exhibition 11 March – 7 May 2017

Opening 10 March 2017, 7 PM


Since 1983, the Swiss Vordemberge-Gildewart Foundation has traveled throughout Europe to award one of the most highly funded art prizes for young artists under thirty-five. In 2017 the Kestnergesellschaft was selected as the venue for the next award ceremony and a related group exhibition. Friedrich Vordemberge-Gildewart (1899–1962), in whose honor his widow Ilse Leda created the foundation in 1977, has a close connection with the history of the Kestnergesellschaft. On the lower floor of the Kestnergesellschaft, the group exhibition VG award 2017 will bring together twelve young artists from north Germany, Annika Kahrs has been selected by the jury as this year’s prizewinner. With various representatives from the fields of painting, photography, installations, performance, and video art, the exhibition will offer a broad overview of the current north German art scene. 


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Annika Kahrs

Achim, Alemanya, 1984

Viu i treballa a Berlin



Annika Kahrs és una artista resident a Hamburg que treballa principalment amb vídeo, performance i fotografia.


En la seva obra, Annika Kahrs examina representació i interpretació, interessant-se per les construccions socials i científiques, i per les relacions orgàniques evolucionades com les que s’estableixen entre humans i animals. Les seves pel·lícules oscil·len entre posades en escena òbvies i l’observació estil documental; una característica distintiva de les seves pel·lícules és que l’artista mai no s’amaga en el film, fins i tot quan la seva presència només es revela en una breu mirada d’un actor o actriu envers la directora. Això mostra un apropament particular a l’entorn que sembla quasi guiat per un procés matemàtic.


Els vídeos d’Annika Kahrs són com coreografies composades. La música sovint juga un paper important, no només representada pictòricament o a la banda sonora, sinó també convertida en imatge; a través de la seva selecció i els ajustos realitzats durant el procés d’edició, la partitura esdevé cinema i, posteriorment, la pel·lícula com a partitura pot esdevenir una altra pel·lícula en la ment de l’espectador.

Erick Beltrán

Ciutat de Mèxic, 1974

Viu i treballa a Barcelona



Erick Beltrán analitza i reflexiona sobre el concepte d’edició i les construccions de discurs. Investiga el poder que exerceixen els diferents mitjans gràfics en la seva distribució d’informació, a més de tractar explícitament sobre diferents conductes i valors.


Treballa amb formats diversos com el múltiple o el llibre, experimenta i investiga la vinculació de l’art públic amb els diversos llenguatges gràfics.


L’arxiu, el museu i la biblioteca són eines i mitjans naturals en el seu procés d’investigació. Un procés en el qual el concepte d’edició focalitza tot el treball, entenent-lo com el mecanisme mitjançant el qual es defineix, avalua, classifica, reprodueix i vehicula la comunicació a través d’imatges que creen discursos polítics, econòmics i culturals en les societats contemporànies.


Julião Sarmento

Lisboa, 1948 – Estoril, 2021



Des de principis dels anys setanta Julião Sarmento ha explorat les possibilitats de la pintura, la fotografia, l’escultura, la instal·lació i el vídeo. En les seves obres existeix un procés d’ocultació suggeridora i situa a l’espectador no solament com a observador sinó que el fa partícip de la seva narrativa.


La dona és un motiu recurrent en les seves obres i parteix d’ella per a elaborar conceptes vinculats a la sexualitat, el desig o la seducció. Les relacions que evoca de latent tensió, violència, obsessió o misteri s’obtenen a partir d’una meticulosa dinàmica entre els agents que participen en l’espai físic, en el cas de les instal·lacions, o en l’edició, en el cas de pel·lícules i vídeos. Les obres resultants desencadenen tota la intriga que es desprèn de les imatges en constant suspens i tensió.