​Villa Romana Prize 2019

Villa Romana, Florence

February 1 - November 30, 2019

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Villa Roman Prize 2019

February 1 - November 30, 2019

Artists: Rajkamal Kahlon, KAYA (Kerstin Brätsch und Debo Eilers), Marcela Moraga, Christian Naujoks

The Villa Romana Prize is the oldest German art prize. Since its inception in 1905 the history of the Villa Romana Prize has been connected with renowned artists. Before the First World War Georg Kolbe (1905), Max Beckmann (1906), Käthe Kollwitz (1906) and Ernst Barlach (1908), and later, Gerhard Marcks (1928) and Emy Roeder (1936) were among the fellows. In the second half of the twentieth century the prize has been awarded to Horst Antes (1962), Georg Baselitz (1965), Markus Lüpertz (1970), Michel Buthe (1976) and Katharina Grosse (1992).


On the Shoulders of Fallen Giants, 2nd Industrial Art Biennial


July 22- October 28, 2018

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On the Shoulders of Fallen Giants, 2nd Industrial Arts Biennial
July 20–October 28, 2018

Artists: Zanny Begg & Elise McLeod, Nina Bunjevac, CANAN, Phil Collins, Matija & Mauricio Ferlin, Fokus grupa, Ulrik Heltoft, Vlatka Horvat, Siniša Ilić, Rajkamal Kahlon, Božena Končić Badurina, Luiza Margan, Maryanto, Naeem Mohaiemen, Oscar Murillo, Nikolay Oleynikov, Daniela Ortiz, Dan Perjovschi, Laure Prouvost, Miljohn Ruperto, Selma Selman, шkart, Marko Tadić  & Miro Manojlović, Želimir Žilnik

The 2nd Industrial Art Biennial takes the Istrian peninsula in Croatia as its starting point. It considers the region both as a context and symbol—the word peninsula literally meaning “almost island”—marked by geographic and historic specificities and a place on the crossroads of empires, from the Greek, Roman, Venetian, Austro-Hungarian, French and Italian to socialism; a place both isolated and connected, similar to a “little continent.” The combustion of the coal that formed in the bowels of Istria centuries ago sparked the expansion of capital, incited colonial and war campaigns, was used to process metal and sugar from further colonies, supported the industries of the fascist military and participated in building socialism—before being abandoned during the long, seemingly endless period of so-called transition.


Recherchestipendien Bildende Kunst 2018

September  - December, 2018

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Recherchestipendien Bildende Kunst 2018

September 1 - December 30, 2018

49 Künstler_innen und 8 Kurator_innen erhalten 2018 ein Recherchestipendium von der Senatsverwaltung für Kultur und Europa.



2016-2018 Stipendiatinnen und Stipendiaten der Hans und Charlotte Krull Stiftung,

Kommunale Galerie Berlin

July 12- September 16, 2018

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2016 -2018 Stipendiatinnen und Stipendiaten der Hans und Charlotte Krull Stiftung

Ulu Braun, Antje Dorn, Sven Johne, Rajkamal Kahlon, Rona Kobel,

Thomas & Renée Rapedius













Katharina Lorenz | Kuratorin

In der Reihe „ausgezeichnet | gefördert“ präsentiert die Hans und Charlotte Krull Stiftung Berliner Künstlerinnen und Künstler, die sie mit Arbeitsstipendien gefördert hat. In ihrer vierten Auflage gastiert die Ausstellung in der Kommunalen Galerie Berlin und zeigt aktuelle Arbeiten von Ulu Braun, Antje Dorn, Sven Johne, Rajkamal Kahlon, Rona Kobel sowie Thomas & Renée Rapedius, die zwischen 2016 und 2018 ausgezeichnet wurden.


Symposium: New Perspectives on Memory(ies).Narratives.Future,  Xart Splitta

July 5-6, 2018

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Symposium: New Perspectives on Memory(ies).Narratives.Future

July 5th and 6th 2018

In this two-day symposium current social conditions in Berlin and Germany will be looked at  investigated & discussed from a decidedly historical perspective. More precisely, current racism and other forms of socially and institutionally produced exclusions and discriminations as well as resistance against them will be looked at and analysed in retrospective. The question of the role of archiving and documentation within the context of resistance strategies that are critical of racism and discrimination as well as anti- and decolonial movements will be central; and ‘looking back’ the basis and point of departure for potential prospects for the future within this context.


Artist as Historian,  Akademie der Kunste der Welt

April 26, 2018

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Artist as Historians

Panel Discussion, April 26, 2018, 19.00


In contemporary art, the remains and residue of the past are rearranged, enabling a new understanding of our own history: artists turn into historians, resisting the disappearance of objects or even entire cultures in their creative work. With a feeling of increasing urgency, artists turn to these remnants of days gone by: photographs, audio and film recordings evoke forgotten places, lost things, or seemingly irrelevant documents that connect to a present seen in a whole new light – a new light that also shines on this historical material.

The works of the different artists in the exhibition are discrete, yet they communicate with one another. They reference historiography as an open-ended, incomplete narrative that can never come to a conclusion, likewise pointing to a polymorphic future that is shaped by innumerable forces.

But what facilitates such a detailed, multifaceted, perhaps completely new interpretation of “things?” Is it the special tactile approach of artists, or is it a subversive agenda that works against the “order of knowledge,” as asserted by institutions of national, colonial or hegemonic alignments?


Such questions are up for discussion by the artists of the exhibition Global Positioning System Not Working, who present themselves and their work to the Cologne public. The evening is moderated by Madhusree Dutta.


Global Positioning System Not Working,  Akademie der Kunste der Welt

April 20 - July 8, 2018

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Global Positioning System Not Working

April20 - July 8, 2018


The Global Positioning System, better known by its abbreviation GPS, was originally developed by the United States Department of Defense, but has long become an integral part of everyday life. Our positions in space are also invariably markers of our disappearance. In Crossfire by SHAHIDUL ALAM, for example, the empty streets in Bangladesh transform into a deserted graveyard – a melancholic cityscape echoing with the footsteps of systematic police terror and the murders of the previous night, the scenes of which the photo artist and human rights activist searches out and documents. And then the absent faces re-appear in RAFAEL LOZANO-HEMMER’s face recognition camera that searches for the missing people’s look-alikes among the spectators.

Disappearance is not an isolated, one-time occurrence. Neither people nor places, evidence nor whole cultures disappear just once and for good. Instead, this happens piecemeal and in installments. The disappearances are countered by attempts at preservation, marking the maelstrom of demise with recurring re-emergences, moments that replicate, overlap, and complete each other. Faces and facial features return to haunt us in RAJKAMAL KAHLON’s projection of Afghan men, documented under a colonial anthropological scheme, and projected over found thermal footage of the American-led bombing of Afghanistan in 2002.

The words of exiled Kashmiri poet AGHA SHAHID ALI resonate in the solitary voice of Maream Hmadeh, the mother of the artist AHMAD GHOSSEIN, who, while separated during the 10-year civil war in Lebanon, sent her husband letters in the form of audio cassettes. The love stories of Agha Shahid Ali and Maream Hmadeh both manifest the political histories of their lands, condensed into personal narratives of loss and disembodied love, of yearning and tragic memory.

In Cologne, the scars left by the NSU bombing on Keupstraße on June 9, 2004, are still a long way from being healed. The memorial that artist ULF AMINDE plans for the corner of Keupstraße and Schanzenstraße will not only remember the attack but also the years of vilification that turned the actual victims into perpetrators.

Global Positioning System Not Working reverses the process of forgetting, disappearance and extinction. That which has seemingly disappeared forever emerges anew through artistic interventions, salvaged and transformed in the creative process.


Immer Ärger mit den Grosseltern, Kunsthaus Dresden

February 15 - May 21, 2018

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The Trouble With Grandparents/ Immer Ärger mit den Grosseltern

Feb. 15 - May 21, 2018

Artists: Lisa Maria Baier, Kyung-hwa Choi-ahoi, Antje Engelmann, Amit Epstein, Deborah Jeromin, Sven Johne, Margret Hoppe, Rajkamal Kahlon, Ahmet Kavas, Wilhelm Klotzek, Kateřina Šedá, Mila Panić, Ute Richter, Johanna Rüggen, Saša Tatić, Nikos Valsamakis, Ingo Vetter

Our relation to history and tradition is determined not only in an abstract sense, but also by our engagement with and the subsequent acceptance or critical rejection of concrete historical events or cultural lines of tradition. Often, this is quite specific, as with our the relation to preceding generations—for example, our grandparents—and the cultural environment they have left behind—and into which we are born. It is the grandparents we love, but whose heritage, be it life plans or tableware, we cannot adopt in our altered life-world. Whether and how we accept the material and immaterial heritage, integrating it in our life or rather leaving it behind, is a decision-making process that often lasts an entire life and mostly begins when the loved, feared, or unknown persons are no longer there.

What is said and left unsaid, individual life stories, aesthetic decisions and contemporary history appear to be inextricably linked in this heritage and the imprint with which we grow up and for which our grandparents stand as a cipher. Positive and negative emotions, acceptance and rejection, can occur at the same time. Already when the older generation is still alive, comfort and affection often stand in a tensional relationship to resistance against social control and an unbridgeable generation gap.

The artworks in the exhibition The Trouble With Grandparents visualize and make comprehensible these familiar processes of coming to terms. The focus of the show is on forms of upbringing that one often becomes aware of only much later in life, as well as on the expanded space of tradition and the global perspective of a younger generation of artists mainly living in Germany. Alongside the engagement with the National Socialist past and the cultural heritage of the GDR, they have been influenced in a wide variety of ways.


Hans and Charlotte Krull Stiftung Artist Grant Recipients, 2017-2018


Rajkamal Kahlon

Ulu Braun

Sven Johne

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Reckoning With History, Research Center for Material Culture, December 1- 3, 2017

If we seek to refigure the museum and collections work in such a way that remains attendant to the ethical concerns of the present, then the museum must undertake a series of reckonings –with history, with colonial durabilities, and with a certain habit of looking away that can no longer be justified by a claim of innocence.


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TEXTE ZUR KUNST, Idioms: The Minor A's of Art, Susanne Leeb

The distinctive characteristics of an idiom, she proposes, are thrown into sharp relief at points of (his- torical) discontinuity. To explore this, she considers a selection of diverse contemporary practices – including, for example, those of Rajkamal Kahlon and Nichloas Magnan – to argue how many present-day artists, however disparate their ways of working, find mutual resonance in a common recourse to appropriation and the repurposing of historic visual material as an act of solidarity.


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Rajkamal Kahlon:  Staying With Trouble, Weltmuseum Wien, Vienna, Austria

October 25, 2017 - September 30, 2018

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Do You Know Our Names? Series, 2017, ink and Gouache on Archival Digital Print, 100x 70 cm.

Staying With Trouble, Weltmuseum Wien

October 25, 2017  - Oct. 31, 2018

Rajkamal Kahlon reflects on how the staging of late 19th and early 20th century ethnographic portrait photography was often based on constructions of the "savage" or "primitive", and thereby helped to form certain codes of representation that can still be found today. Through her visual analysis and transformation of archival images, the artist examines these continuities and invites visitors to question their own gaze. The title of the exhibition refers to the biologist and philosopher of science Donna Haraway, whose writing influenced Kahlon in her working process.



Reframing Worlds: Mobility and Gender in a Postcolonial, Feminist Perspective, ngbk and Galerie im Körnerpark, November 4 - January 21, 2018


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Reframing Worlds, ngbk and Galerie im Körnerpark

November 4 - January 21, 2018

Artists: Akinbode Akinbiyi, Maria Thereza Alves, Hasan Aksaygın & Aykan Safoğlu, Nathalie Anguezomo Mba Bikoro & Anaïs Héraud-Louisadat, Pauline Boudry & Renate Lorenz, Antye Greie aka AGF, Rajkamal Kahlon, Susanne Kriemann, Marisa Maza, Judith Raum, Mathilde ter Heijne, Katrin Winkler, Moira Zoitl

“Reframing Worlds” is an exhibition that brings together work by Berlin artists dealing with the lives and works of a diverse group of women including Gertrude Bell, Agatha Christie, Maria Mandessi Bell Diop, Mia May, Sayyida Salme Princess of Oman and Zanzibar alias Emily Ruete, and Ida Pfeiffer.

Colonialist influenced mindsets, imagery, and categories of knowledge that are still in effect today are the departure points; their historic structures are to be laid bare and examined. The artists follow experiences of oppression, resistance, and migration in their research, which encompasses travel reports, life stories, plant worlds, photographs and other objects. They investigate where and in what ways traces are still visible, and critically discuss ways to deal with archives and archival material today as well as their own roles as knowledge producers.

The exhibition not only reveals gaps in the historiography, but also challenges the kind of knowledge that was produced in the context of the colonial projects and circulated Europe. Who produces knowledge about the world and in which way? How do the complex intersections between racism and sexism continue to affect us, and how can we imagine and practise feminism transculturally and in solidarity?


Precarious Art: Artificial Boundaries, Alpha Nova/Galerie Futura

October 13 - November 18, 2017
Helen Cammock & Rajkamal Kahlon

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Insurgent # 1, 2013, ink, acrylic and graphite on canvas 80 x 60 cm

Precarious Art: Artificial Boundaries, Alpha Nova/Galerie Futura

October 13 - November 18, 2017

The project confronts the possibilities, realities and strategies toward realising long-term change in the struggle of daily and structural racist and sexist conditions, its historiographical equivalent – in general – as well as within the art establishments. Within this context a central question must be attended to: Who is telling whose story? It is necessary to show how hegemonic historiography and representations are constructed and which role, in particular race and gender, play for visibility. What could self-empowering practices look like in order to reject discriminatory provisions, to fill gaps in history, to strengthen and normalize other narratives without removing them from their political significance?
The project aims to generate and disseminate knowledge in such a way that members of the underserved and underrepresented communities are not put in a position of educating those from socio-politically privileged points of departure. The artists present their work and themselves as a part of the ‘norm’ and simultaneously as specific political subjects.


In Conversation with Rajkamal Kahlon:  Constructive Disruptions


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© 2017 by Rajkamal Kahlon