Fellow 2020

Assaf Gruber

Assaf Gruber (*1980, Jerusalem) is a sculptor and filmmaker who lives and works in Berlin. Both his time-based works and installations focus on the way in which political ideologies of individuals intertwine with personal stories, and the way in which they form social relations within private and public spheres. Gruber is a graduate of the École Nationale Supérieure des Beaux-Arts in Paris and of the Higher Institute of Fine Arts (HISK) in Ghent. He had solo exhibitions at the Museum of Art in Łódź (2015), the Natural History Museum of Berlin (2018), The Berlinische Galerie (2018), the Center for Contemporary Art U-jazdowski Castle, Warsaw (2018) among other institutions. His films have been featured in festivals, including the Berlinale Film Festival, (2016) and FID Marseille (2019).

Gruber researches in the Archive of Avant-garde historical materials for his new film series – The Transient Witness. Each episode portrays the transfer of the archive from the private house of the collector Egidio Marzona in Berlin to its new public domicile – the Japanese Palace in Dresden (part of Staatliche Kunstsammlungen Dresden), through the eyes of a seemingly marginal protagonist.


 The project explores the common features and necessary distinctions between art collections, archives, and the various material and cultural substrata that enable their existence.

photo: Assaf Gruber
© Assaf Gruber
Fellow 2020

Michela Lupieri

Michela Lupieri (*1983) is an Italian curator, writer and researcher. This year she is proceeding the second part of her fellowship started in 2018. 

“Ideas in the air” is a research project which belongs to the broader framework of researches Lupieri is currently working on with her PhD. As doctoral candidate she investigates the structure of the Marzona collection, in particular the horizontal relationship existing between documents and art-objects.

Quoting Lucy Lippard “Ideas in the air” from the book “Six years: the dematerialization of the art object from 1966 to 1972" Lupieri will consider this narrow time span in order to examine some crucial practices, underlyng the role that ideas and processes have played both in Europe and America. The aim is to analyse the evolution of the art object, how it has gone through a process of revision. Throughout a serendipity approach, in AdA she will looking for items links to the most relevant exhibitions of that period, as a series of manifestations or practices that has been crucial in spreading art-ideas into daily life. In particular will be consider the role that experimental projects, magazines, catalogues, mail art and television have had in this process.

Fellow 2019

Megan Hoetger

Megan Hoetger (*1984) is an historian, critic, and curator. She holds a PhD in Performance Studies with specializations in Critical Theory and Film Studies from the University of California, Berkeley. She was a Visiting Researcher at the Centre for Cinema and Media Studies in Ghent, Belgium (research on the  EXPRMNTL International Experimental Film Festival, 1949–1974), co-curated “Underground International: Kurt Kren and Tomonari Nishikawa” at the Berkeley Art Museum Pacific Film Archive, and “A Sentimental Punk,” the first retrospective of films by Austrian experimental filmmaker Kurt Kren since 1998, with screenings in San Francisco, Los Angeles, New York, and Mexico City. She has also organized numerous underground screenings of queer contemporary film in Los Angeles and San Francisco. Her writings on time-based art, archives, and the politics of distribution have appeared in various journals and anthologies.

Hoetger’s archival and curatorial practice maps the political economies in which underground media networks were formed transnationally in relation to state geopolitics and capitalist market forces during the Cold War period. Her first project, Rude & Playful Shadows: Collective Performances of Cinema in Cold War Europe, examined the connections between underground cultural production, the state, and commercial markets across sites in German-speaking Europe (Vienna, Köln, Zurich, Kassel) from the mid-1960s until the late 1970s. In the Archiv der Avantgarden Hoetger is working in the Birgit Hein Vorlass on preliminary research for her new manuscript, Curating and Kinship: Women, Domestic Labor, and Underground Arts Programming in Two Germanys, which turns attention to the relationship between underground cultural production and the women’s movements in West and East Germany between 1973 to 1985.

Fellow 2019

Fine Kugler

Fine Kugler (*1991) studied art history, History, and English/ American Studies at TU Dresden and the University of Leiden, The Netherlands. In 2019, she graduated from Art History with a thesis on a player of the Dresden art market in the time of Weimar Republic. (“Die Kunstausstellung Kühl 1924-1932. Versuch einer Rekonstruktion”).

In 2016-2019, she was a student associate at a project of DFG on the role of SKD in the Third Reich.

As a Research Fellow at AdA, she looks at a possible influence of private commercial exhibition making on museum practices. Focussing on the first half of 20th century, she researches the collection of AdA systematically. A key focus therein is on the Avant-Garde movements (El Lissitzky, surrealism) and their impact on displays in museums, galleries and other sales exhibitions.

Ausstellungsraum des Künstlers El Lissitsky in Dresden
© Alexander Paul Walther, Repro: Andreas Diesend.
El Lissitzky, Room for abstract art

Meike Beyer

Meike Beyer (*1989) studied art history and Roman studies at the TU Dresden as well as Cultural Heritage: Preservation and Management at the University of Trento (Italy). From 2011 to 2014 she was a member of TU Dresden subproject in the European Network for Baroque Cultural Heritage (ENBaCH) led by the Chair of Italian Literature and Cultural Studies at the Institute of Romance Studies. Since then she works as research assistant at the TU Dresden. Her doctoral research focuses on the Sicilian playwright and poet Ruggero Vasari and his influence on the futuristic network in Germany after 1920.

Following her research interests, including cultural exchange and translation processes as well as socio-cultural networks in the age of the avant-garde, Meike Beyer's Fellowship deals with the Futurist collection of the Archive of Avant-garde (AdA) and wants to explore the transnational interactions between artists through different media. Furthermore, the research focuses on correlations between polymorphic networks of the futuristic movement and literary, artistic, architectural and political spaces of European Modernity after the First World War.

Excerpt from magazine title 1917
Front page (excerpt) of Freccia Futurista, no. 1, publ. by Alk Gian, Piero Negri & Silvestro Lega, Milan, April 19, 1917.

Michela Lupieri

Michela Lupieri (*1983) is an Italian curator, writer and researcher. She graduated from IUAV University in Venice and received her MA in 2011 in Visual Arts, specializing in contemporary art. She has worked as assistant curator for Dolomiti Contemporanee and RAVE – East Village Artist Residency, currently she is part of the Palinsesti’s curatorial team. Her curatorial practice deals with the intersections between art, architecture and public space. Furthermore, since her bachelor thesis focused on the Art Park, the open-air collection promoted by Egidio Marzona in Italy, her research is mainly focus on the Marzona Collection. In the past years she was the appointed curator of the exhibition Pasolini presenta/e. P.P. Pasolini in the Egidio Marzona Collection and the guest lecturer of Conversation on Emmett Willian’s ear by Dick Higgins on Fluxus in the Marzona Archive.

Throughout a “serendipity approach” the research Where do we go from here? points out invisible connections between different sections of the Archiv der Avantgarden (AdA), starting from the Design field and specifically from the experience of Memphis in Italy. Pursuing her interest into interdisciplinary perspectives her aim is to explore the structure of the archive crossing movements, countries and visual languages throughout a research back in time. The research deals with the theory of dialectical contemporaneity as to the idea of contemporaneity as a form of archaeology. The leading topic of the research is being radical, a belief strictly linked to the idea of being subversive and distant from traditional rules, that characterized specific Design and Art movements of 20th Century.

Material aus dem Archiv
Material zu Radical Design aus den Beständen des AdA
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