Assemblies of Imaginatives

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	<title>Assemblies of Imaginatives</title>
	<link>https://assembliesofimaginatives.com</link>
	<description>Assemblies of Imaginatives</description>
	<pubDate>Fri, 26 Sep 2025 09:59:13 +0000</pubDate>
	<generator>https://assembliesofimaginatives.com</generator>
	<language>en</language>
	
		
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		<title>Works</title>
				
		<link>https://assembliesofimaginatives.com/Works</link>

		<pubDate>Tue, 11 Feb 2025 19:20:36 +0000</pubDate>

		<dc:creator>Assemblies of Imaginatives</dc:creator>

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&#60;img width="2100" height="2619" width_o="2100" height_o="2619" data-src="https://freight.cargo.site/t/original/i/08b76eb52aef50a3f330d4a0296173b4d2116cfef11f96f4d4edc4bf56154822/DUUL_Franziska_Windolf_performance_59.jpg" data-mid="226439965" border="0" alt="Meet The Memory Person (2023-2024)" data-caption="Meet The Memory Person (2023-2024)" src="https://freight.cargo.site/w/1000/i/08b76eb52aef50a3f330d4a0296173b4d2116cfef11f96f4d4edc4bf56154822/DUUL_Franziska_Windolf_performance_59.jpg" /&#62;
&#60;img width="1818" height="2572" width_o="1818" height_o="2572" data-src="https://freight.cargo.site/t/original/i/15c12530c2cc9bf9d75f438638048cfea6ef78670471d6773ef916d4ba20e50a/50x80-Windolf_8-Kopie-2.jpg" data-mid="226440409" border="0" alt="Mapping (2024-2025)" data-caption="Mapping (2024-2025)" src="https://freight.cargo.site/w/1000/i/15c12530c2cc9bf9d75f438638048cfea6ef78670471d6773ef916d4ba20e50a/50x80-Windolf_8-Kopie-2.jpg" /&#62;
&#60;img width="2789" height="4004" width_o="2789" height_o="4004" data-src="https://freight.cargo.site/t/original/i/24fe68cd05b0288d270b8453ae74ba0fb035125f9420e36a54fe6b1dfbf730fe/Icon-Works-Handkerchief.jpg" data-mid="226438889" border="0" alt="The Handkerchief (2024-2025)" data-caption="The Handkerchief (2024-2025)" src="https://freight.cargo.site/w/1000/i/24fe68cd05b0288d270b8453ae74ba0fb035125f9420e36a54fe6b1dfbf730fe/Icon-Works-Handkerchief.jpg" /&#62;
&#60;img width="835" height="708" width_o="835" height_o="708" data-src="https://freight.cargo.site/t/original/i/a761a877614686ffe41d3d725fba473e20998e28784cae2bea8f0e2b6958148c/WagenseitlichKorrekturen5ohneGeometrie2mitSaulewebexp1250pxw-100-Kopie.jpg" data-mid="226440020" border="0" alt="For Monument's Sake! (2022)" data-caption="For Monument's Sake! (2022)" src="https://freight.cargo.site/w/835/i/a761a877614686ffe41d3d725fba473e20998e28784cae2bea8f0e2b6958148c/WagenseitlichKorrekturen5ohneGeometrie2mitSaulewebexp1250pxw-100-Kopie.jpg" /&#62;
&#60;img width="1200" height="1546" width_o="1200" height_o="1546" data-src="https://freight.cargo.site/t/original/i/6880d28fb1accc055d41914692fa29ce9aa8e266955313c0c123671ddb2fbeb4/22_image-credit-Leonid-Hrytsak_kopie.jpg" data-mid="243533641" border="0" alt="Editions" data-caption="Editions" src="https://freight.cargo.site/w/1000/i/6880d28fb1accc055d41914692fa29ce9aa8e266955313c0c123671ddb2fbeb4/22_image-credit-Leonid-Hrytsak_kopie.jpg" /&#62;
&#60;img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/8144e3368b806017689497f2b249060aac67a7d9b9187d8317f3b168681bd808/20200914_114334.jpg" data-mid="226438687" border="0" alt="Archive/Past works" data-caption="Archive/Past works" src="https://freight.cargo.site/w/1000/i/8144e3368b806017689497f2b249060aac67a7d9b9187d8317f3b168681bd808/20200914_114334.jpg" /&#62;


Imprint

©Franziska Windolf. All rights reserved.


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	<item>
		<title>Mapping </title>
				
		<link>https://assembliesofimaginatives.com/Mapping</link>

		<pubDate>Mon, 13 Jan 2025 16:08:07 +0000</pubDate>

		<dc:creator>Assemblies of Imaginatives</dc:creator>

		<guid isPermaLink="true">https://assembliesofimaginatives.com/Mapping</guid>

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Mapping&#38;nbsp;In 2024, while researching my grandmother’s suppressed story of flight from Starý Rokytník to Minden, Germany, after the WWII, in the 1628 edition of Sebastian Münster’s Cosmographia I came across an allegorical map that depicted Europa Regina - Europe actually represented through a figure of a woman. I was moved to see that the Kingdom of Bohemia, the former homeland of the Sudeten Germans, my grandmother came from and had to flee in 1946, in that map took the place of heart.

In my version of the map, I intervene by cutting it and inscribing terms that define my current art practice. Moving beyond the map’s original political function, I base my mapping on its later didactic purpose, using fragmentation and manipulation to question the power dynamics inherent in cartography.

In the Patchwork Jacket that carries the mapping, two identities meet through culture and fashion. It combines a traditional Bavarian jacket with a punk leather jacket donated to me by Petr Růžička during my 2024 residency at the House of Arts in Ústí nad Labem (CZ). The garment is a powerful testament to his past—specifically his time as a young musician arrested in Teplice before the Velvet Revolution. 
The revolutionary and community-minded spirit of Petr Růžička creates a sharp counterpoint to my own identity. Having been raised in Bavaria in a familiy that silenced its past, I feel removed from a shared sense of belonging, such as the 'Mia san Mia' ethos often associated with Bavarian Tracht.&#38;nbsp;


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Images 1-11: “Mapping 1”, “Patchwork Jacket”Image 12: Source https://journals.openedition.org/belgeo/7711?lang=de
Munich (DE), 2024-25Mixed media sculpture: Textile, leather, ink drawing, rope, steel, foam, fiber glassVariable Dimensions
Exhibited at
 
Karin Sachs Gallery, Munich (DE) as part of Archived ruptures – Ruptured archives 28.-29.11.2024 (print version)Artists: Olga Bubich, Parastou Forouhar, Jeanno Gaussi, Anahita Razmi, Franziska Windolf
 Curator: Cathrine Bublatzky
House of Arts, Ústí nad Labem (CZ) as part of IDENT 4.12.2024-8.3.2025 (print version)Artists: Pavlína Fichta Čierna&#38;nbsp;(SK), Barbara&#38;nbsp;Holub&#38;nbsp;(AT), Valérie&#38;nbsp;Leray&#38;nbsp;(FR/DE), Darja&#38;nbsp;Lukjanenko&#38;nbsp;(UA/CZ), Silvie&#38;nbsp;Milková&#38;nbsp;(CZ), RAFANI&#38;nbsp;(CZ), Zdeněk&#38;nbsp;Svejkovský&#38;nbsp;(CZ), Michaela&#38;nbsp;Thelenová&#38;nbsp;(CZ), Slaven&#38;nbsp;Tolj&#38;nbsp;(HR), Franziska&#38;nbsp;Windolf&#38;nbsp;(DE)Curator: Michal Koleček

&#38;nbsp;
Kampus Hybernská, Prague (CZ) as part of Voices of Memory 14.-18.7.2025
Artists:&#38;nbsp;Olga Bubich, Nikita Kadan, Michal Kindernay, Magdalena Kracík Štorkánová, Mirta Kupferminc, Rosell Meseguer, Nela Milić, Michalina Musielak, Grace Schwindt, and Franziska Windolf.Curators: Dr. Branislava Kuburović, Dr. Irena Řehořová&#38;nbsp;

Brunel Shed, Buckinghamshire New University, High Wycombe (UK) as part of Voices of Memory 11.-21.11.2024

Artists: Olga Bubich, Rosell Meseguer, Grace Schwindt, Michal Kindernay, Lisa Glybchenko, Franziska Windolf, Nela Milić, Alexandra Murphy, Liana Psarologaki, Fil Ieropoulos, Cole Robertson, Tom McGorrian, Elisavet Kalpaxi and Anne-Marie Perks.
Curators: Dr. Nela Milić,&#38;nbsp;Dr. Branislava Kuburović, Dr. Irena Řehořová 
Kindly supported by The Jan Evangelista Purkyně University and the House of Arts in Ústí nad Labem (CZ) and Schafhof Europäisches Kunstforum Oberbayern (DE)


©Franziska Windolf. All rights reserved.
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	<item>
		<title>The Handkerchief</title>
				
		<link>https://assembliesofimaginatives.com/The-Handkerchief</link>

		<pubDate>Mon, 16 Sep 2024 11:16:28 +0000</pubDate>

		<dc:creator>Assemblies of Imaginatives</dc:creator>

		<guid isPermaLink="true">https://assembliesofimaginatives.com/The-Handkerchief</guid>

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The HandkerchiefIn September 2025, the State Institute for Qualification and Quality Development in Schools (LI Hamburg) hosted Heritage Open Day, coinciding with the institution’s centenary. As a multidisciplinary artist working with memory, I was invited to create a performative work focused on the history of teacher training in Hamburg. Inspired by the handkerchief ritual in Herta Müller's 2009 Nobel Prize lecture, I structured my walk around the meanings and actions associated with this familiar object, inviting participants to engage with it directly. If Herta Müller saw in the handkerchief a marker of affection - a sign of care her mother showed when seeing her daughter off to school, - my project introduces several additional layers related to informal learning, audience agency, and counter-monument activism. Among other key elements included in the performance are custom handkerchiefs, a Polaroid camera, artifacts from the Hamburg School Museum, and the sound of a Weimar-era school bell.


&#60;img width="5675" height="3783" width_o="5675" height_o="3783" data-src="https://freight.cargo.site/t/original/i/0c134e992e6590e0c117f99531f0c593be795263a8c08620b8c2b078155ba33b/250914_100Jahre-LI_c_Claudia-Hohne_108.jpg" data-mid="239052933" border="0" alt="5" data-caption="5" src="https://freight.cargo.site/w/1000/i/0c134e992e6590e0c117f99531f0c593be795263a8c08620b8c2b078155ba33b/250914_100Jahre-LI_c_Claudia-Hohne_108.jpg" /&#62;
&#60;img width="5821" height="3881" width_o="5821" height_o="3881" data-src="https://freight.cargo.site/t/original/i/248832a850eb63f76912cea34a64bb34d34c699e624807f293eea5617d40b7d1/250914_100Jahre-LI_c_Claudia-Hohne_126.jpg" data-mid="239052937" border="0" alt="6" data-caption="6" src="https://freight.cargo.site/w/1000/i/248832a850eb63f76912cea34a64bb34d34c699e624807f293eea5617d40b7d1/250914_100Jahre-LI_c_Claudia-Hohne_126.jpg" /&#62;
&#60;img width="5060" height="3545" width_o="5060" height_o="3545" data-src="https://freight.cargo.site/t/original/i/35fea2e8e899392bc6f9e8e9c3254dcab31128618628d407c081c05dc2354b01/250914_100Jahre-LI_c_Claudia-Hohne_128-Kopie_zuschnitt.jpg" data-mid="239057994" border="0" alt="1" data-caption="1" src="https://freight.cargo.site/w/1000/i/35fea2e8e899392bc6f9e8e9c3254dcab31128618628d407c081c05dc2354b01/250914_100Jahre-LI_c_Claudia-Hohne_128-Kopie_zuschnitt.jpg" /&#62;
&#60;img width="5709" height="3806" width_o="5709" height_o="3806" data-src="https://freight.cargo.site/t/original/i/9344432c12120fe0b7b89d4ee6492a9a6c6dab018c0f8af5348f4c48ea2325d6/250914_100Jahre-LI_c_Claudia-Hohne_125.jpg" data-mid="239052936" border="0" alt="2" data-caption="2" src="https://freight.cargo.site/w/1000/i/9344432c12120fe0b7b89d4ee6492a9a6c6dab018c0f8af5348f4c48ea2325d6/250914_100Jahre-LI_c_Claudia-Hohne_125.jpg" /&#62;
&#60;img width="5101" height="3654" width_o="5101" height_o="3654" data-src="https://freight.cargo.site/t/original/i/a8f9c88ff7679e3a4cc203895cba66c0dd35296fb8eb8e15de7e50db6afa7088/250914_100Jahre-LI_c_Claudia-Hohne_114-Kopie_zuschnitt.jpg" data-mid="239057952" border="0" alt="3" data-caption="3" src="https://freight.cargo.site/w/1000/i/a8f9c88ff7679e3a4cc203895cba66c0dd35296fb8eb8e15de7e50db6afa7088/250914_100Jahre-LI_c_Claudia-Hohne_114-Kopie_zuschnitt.jpg" /&#62;
&#60;img width="2000" height="1344" width_o="2000" height_o="1344" data-src="https://freight.cargo.site/t/original/i/e841fe31fc0c46792089ec0a7b443549eee0205dcba864f45cf65df9cf3625d7/Zusammenschau-Quellen_webexp.jpg" data-mid="239057628" border="0" alt="4" data-caption="4" src="https://freight.cargo.site/w/1000/i/e841fe31fc0c46792089ec0a7b443549eee0205dcba864f45cf65df9cf3625d7/Zusammenschau-Quellen_webexp.jpg" /&#62;

Below: Memory cues created and captured by participants via Polaroid.

&#60;img width="622" height="776" width_o="622" height_o="776" data-src="https://freight.cargo.site/t/original/i/771c3fa9197074a4f4a5cf5a61f0f86b42225c9a98c91e23f494d25c9d8185dd/Windolf_LI-100-Walk-1_1_20250914.jpg" data-mid="238893509" border="0" alt="7" data-caption="7" src="https://freight.cargo.site/w/622/i/771c3fa9197074a4f4a5cf5a61f0f86b42225c9a98c91e23f494d25c9d8185dd/Windolf_LI-100-Walk-1_1_20250914.jpg" /&#62;
&#60;img width="620" height="772" width_o="620" height_o="772" data-src="https://freight.cargo.site/t/original/i/479458d4047836eec8b5dbc587e9ce33f7d207002f2b5e1682308c55a6a8f839/Windolf_LI-100-Walk-2_4_20250914.jpg" data-mid="238893489" border="0" alt="8" data-caption="8" src="https://freight.cargo.site/w/620/i/479458d4047836eec8b5dbc587e9ce33f7d207002f2b5e1682308c55a6a8f839/Windolf_LI-100-Walk-2_4_20250914.jpg" /&#62;
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Images 1-10: Performative Walk “The Handkerchief”Image 4: Sources https://untietotie.org/event/die-leerstellen-fuellen-koloniale-fragmente-im-kontext-schule/; https://www.ew.uni-hamburg.de/ueber-die-fakultaet/aktuell-2025/25-07-04-interview-sidney-oliveira.html;&#38;nbsp;The Hamburger Schulmuseum (School Museum); https://www.gew.de/aktuelles/detailseite/verhaertung-und-frontenbildung
Hamburg (DE), 2025Textile, Spoken Word, Sound, Bronze Sculpture on a Mobile Stand,
Historical Objects from the Hamburg School Museum, Polaroid Camera. Duration: 50 min. Exhibited at the State Institute for Qualification and Quality Development in Schools, Hamburg, on the occasion of the Heritage Open Day, 14.09.2025
Photo credit: Claudia Höhne; the participants of the performative walk (polaroids)Kindly supported by the State Institute for Qualification and Quality Development in Schools, Hamburg
 
With thanks to Celina Rahman, Dr. Silke Urbanski, the team at the Hamburger School Museum, and Katharina Bosse.
©Franziska Windolf. All rights reserved.
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I created “The Handkerchief” installation for the 2024 exhibition Global Munich: In Perspective at the Habibi Kiosk (Münchner Kammerspiele) as part of the festival What is the City NOW? The exhibition explored what globalization meant for Munich, its history, inhabitants, and different urban spaces. My installation consisted of two distinct pieces placed next to each other to highlight a dialogue between them: a miniature 15 cm-height bronze figurine and an oversized two-meters’ handkerchief. &#38;nbsp; 
The miniature sculpture has the shape of the anonymous human body. It is a faceless figure with a stretched arm transformed into a knot - a universal symbol for a memory prompt. The sculpture’s hood is a reference to the Münchner Kindl which can be seen on the city’s coat of arms since the 13th century. The word Mönch (monk in German) is what the name Munich (München) originates from, historically related to the foundation of the city - now evolved into a commercial icon and also used as a colloquial term for Munichers.&#38;nbsp; 
The outfit I sculpted into the figurine’s form is related to “Meet The Memory Person” project (2023–2024) at the center of which there is a collector of migration and exile stories - a figure but then also a real role adapted by my fellow collaborators and myself during workshops and curated walks around several cities. In this very project I also challenged popular assumptions about Munich Originals existing in Bavaria as being privileged, snobbish, and ignorant. One of the possible reasons for the consistency of Munichners’ "exceptionality" has to do with Bavaria placed as a sovereign state at the center of a cosmological worldview in a complex heraldic program once displayed in Munich’s Old Town Hall (destroyed in 1944 during the bombing of the Allies.) The reference to this historical fact is reflected in the figurine, as well - I carved its crossed legs to evoke associations with Moorish Dancers, a 1480 woodcarving by Erasmus Grasser. By patching these references together, the art piece addresses globalization and power play in connection with the city’s positioning both in Germany and Europe. 
Another element of the installation is a textile handkerchief covered in several prints that bear a special meaning important for the concept of this art piece. In addition to their private practical use, in the 18th century handkerchiefs also served as a common commemorative item circulating the information about major societal events, such as the American War of Independence, the French Revolution, the ascent of hot air balloons, or the death of famous figures. To further enhance this aspect of the handkerchief’s application and emphasize the shift from the private to the public, I decided to make it two-meters’ wide. The oversized textile piece features prints that address marginalized fragments of Munich’s historiography. These include a tree trunk as a non-human time witness on one side and the logo of the Croatian football club N.K. Dinamo München e.V. (1971), a reference to the Jewish-owned folk costume store Volkskunsthaus Wallach (1900), a fragment of the refugee aid poster Welcome to Munich (2015), created when hundreds thousands refugees arrived to Germany from Syria and Iraq fleeing war - on the other.


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&#60;img width="5504" height="8256" width_o="5504" height_o="8256" data-src="https://freight.cargo.site/t/original/i/83e1e5ecaedab5f8df8521df418c6407a141581cfa2ceaeeb6f6bc48b05972c6/DSC_9627.jpg" data-mid="242491013" border="0" alt="12" data-caption="12" src="https://freight.cargo.site/w/1000/i/83e1e5ecaedab5f8df8521df418c6407a141581cfa2ceaeeb6f6bc48b05972c6/DSC_9627.jpg" /&#62;
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Images 11-13: “The Handkerchief”Kammerspiele, Munich (DE), 2024Patinated bronze; print on fabric, chicken wire, metal40 x 45 x 15 cm; 205 x 105 x 3 cm Exhibited at Habibi Kiosk, Kammerspiele Munich as part of the show Global Munich. In perspective 21.6. - 29.6.2024
Artists:&#38;nbsp;Hêlîn Alas, Aydin Alinejad, Sofia Dona, Jeanno Gaussi, Nikolai Gümbel, Narges Kalhor, Franziska Windolf.Curator: Sophie EisenriedCatalog in German and English, p. 30 - 35
History is what we carry with us by Luísa Telles
Kindly supported by the Käte Hamburger Kolleg global dis:connect Munich and Kammerspiele, Munich.
Photo credit: Michael Mönnich, Florian Laufhütte

©Franziska Windolf. All rights reserved.
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</description>
		
	</item>
		
		
	<item>
		<title>Meet The Memory Person</title>
				
		<link>https://assembliesofimaginatives.com/Meet-The-Memory-Person-1</link>

		<pubDate>Tue, 25 Mar 2025 16:14:51 +0000</pubDate>

		<dc:creator>Assemblies of Imaginatives</dc:creator>

		<guid isPermaLink="true">https://assembliesofimaginatives.com/Meet-The-Memory-Person-1</guid>

		<description>
	
	
Meet The Memory PersonThis ongoing project explores local memories of exile and migration, both past and present, through dialogue, archival materials, subculture, and architecture. I invite individuals from various local migrant groups and backgrounds to participate in workshops where we create multimedia objects that bring their memories to life. With the authors’ permission, I incorporate these artworks into curated city walks informed by my research into local histories of exile and migration. During these participatory walks, performers present the artworks and share the local narratives with the audience.
Please visit https://www.memoryperson.com/en for detailed info, newsletter and updates!

&#60;img width="1920" height="1200" width_o="1920" height_o="1200" data-src="https://freight.cargo.site/t/original/i/229961334876bcfad98a3a1843a16447e385f76bdfae85b2c8ea15aafe6b01ae/Vorlage-Video-Embed_Trailerschwarz.jpg" data-mid="228775080" border="0" alt="Project Trailer, 2025. 03:22 min." data-caption="Project Trailer, 2025. 03:22 min." src="https://freight.cargo.site/w/1000/i/229961334876bcfad98a3a1843a16447e385f76bdfae85b2c8ea15aafe6b01ae/Vorlage-Video-Embed_Trailerschwarz.jpg" /&#62;
&#60;img width="1920" height="1200" width_o="1920" height_o="1200" data-src="https://freight.cargo.site/t/original/i/526b18851135d692147628e7d89a48f0ef85b56d370cfbc36fa8d15058781f34/Bildschirmfoto-2023-12-21-um-09.39.52_webexp1920pxw.jpg" data-mid="228775038" border="0" alt="'Munich Originals Revisited' - Performance 'Meet the Memory Person' in Giesing (Munich), 2023. 12:34 min." data-caption="'Munich Originals Revisited' - Performance 'Meet the Memory Person' in Giesing (Munich), 2023. 12:34 min." src="https://freight.cargo.site/w/1000/i/526b18851135d692147628e7d89a48f0ef85b56d370cfbc36fa8d15058781f34/Bildschirmfoto-2023-12-21-um-09.39.52_webexp1920pxw.jpg" /&#62;
&#60;img width="1920" height="1200" width_o="1920" height_o="1200" data-src="https://freight.cargo.site/t/original/i/f90467c218b45b7c8df058ac006f4c7f2c4d34c09cdd3337f1df188d7c3a9d08/Vorlage-Video-Embed_Usti_webexp.jpg" data-mid="228775081" border="0" alt="Meet the &#38;Uacute;st&#38;iacute; nad Labem Memory Persons - City Walk, 2024. 12:00 min." data-caption="Meet the Ústí nad Labem Memory Persons - City Walk, 2024. 12:00 min." src="https://freight.cargo.site/w/1000/i/f90467c218b45b7c8df058ac006f4c7f2c4d34c09cdd3337f1df188d7c3a9d08/Vorlage-Video-Embed_Usti_webexp.jpg" /&#62;


From 2022 to 2023, I was an artist-in-residence at the Käte Hamburger Kolleg global:disconnect research center in Munich for six months. Through a commission awarded by global dis:connect and METROMOD, I created a public artwork commemorating artists, architects, and intellectuals who fled Munich during the National Socialist era. As my research progressed, I expanded the project’s scope to connect the past with current experiences of exile and migration. Building on this development, the resulting project, “Meet The Memory Person,” premiered as a public art performance in Munich’s Giesing district in 2023. Since then, five performers have embodied “The Memory Person.” The ongoing project focuses on sharing and celebrating the memories of creative individuals with personal and professional connections to the topic of migration and exile, highlighting intergenerational connections.


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Images 1-21: “Meet The Memory Person – a performative monument”
Image 22:&#38;nbsp;"Reklamemensch" portrait of Hans Held from the photo collection "Münchner Originale" by Karl Valentin, in the book by Karl Stankiewitz, Allitera Verlag, 2019, p. 242.Image 23: Oktoberfest, “Souvenir Vendor,” Munich, 1907/10. Photo: Philipp Kester. Source: Munich City Archive


Giesing, Munich (DE), 2023 - 2024Participatory city walk, Multimedia ObjectsDuration: 3hConcept: Franziska WindolfCuration: Mareike Schwarz (2023)
Workshop participants: Anick Messerschmitt, Eliza Kokeyan, Elvin Turgut, Emver Retzep Oglou, Franziska Windolf with quotes paraphrasing Adnan Al-Dhahir, Haydar Isik, Ivan Binar, Milorad Vujovic, Wladimir Nikolajewitsch Woinowitsch, Hanna Vasina, Iriet Yusuf, Iriet Yusuf and school children, Kathrin Knöpfle, Katja Kushnir, Ksenia Bykovsky, Leonid Hrytsak, Liana Chernetska, Maisoun Alfarawati, Manuel Friedrich, Mariam Monga, Mehmet “Schlosser”, Miriam Worek, Natalia Shynkarova, Nicolas Wannenmacher, Olena Mytko, Pepi, Ping-Pong group , Seb, Selin Julia Sissiyo, smadlmachts, Su Turhan, Viktoriia Ivasyshyna; some, who wish to be anonymousWorkshops: 14.05.23 @ Kulturzentrum Gorod, Munich; 12.11.2023 @ FLORIDA Lothringer 13, Munich; 15.06.24, 22.06.24, 29.06.24, 06.07.24 @ 103er Freizeitreff, Munich-Giesing
 
Performers City Walks: Franziska Windolf, Konouz Saeed, Lisavieta Bogushevskaya, Simone Kokou, Viviana IacobCity walks: 01.06.23, 3pm; 04.06.23, 12am; 11.06.23, 3pm; 13.06.23, 4pm; 19.06.23, 5pm; 24.06.23, 12am; 30.07.24, 6pm; 10.08.24, 3pm; 11.08.24, 3pm; 12.08.24, 6pm; 30.08.24, 6pm; 31.08.24, 3pm
Expandable catalogue Meet The Memory Person in German and English language (2023) 
Looking to the future with joy by Magdalena Wisniowska (2025)
static Vol. 3 No. 1, S.11 (2024)
gd:c newsletter (2024)
Open Archive
Project Trailer (2024)
Video documentation Giesing (2023)
Kindly supported by BBK Munich and Upper Bavaria (2023), Department of Culture of the State Capital Munich, Migration Council of the State Capital Munich, District Committee 17 Obergiesing - Fasangarten of the State Capital Munich (all 2024). This project has received funding from the European Research Council (ERC) under the European Union's Horizon 2020 research and innovation program (2023). This project was developed within Franziska Windolf’s fellowship at the Käte Hamburger Research Centre global dis:connect and was initiated by the ERC project ‘Relocating Modernism: Global Metropolises, Modern Art and Exile (METROMOD)’ (2023). 

Photo credit: Milena Wojhan, Sandra Singh, Leonid Hrytsak©Franziska Windolf. All rights reserved.
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In 2024, I was awarded a one-month artist residency at the House of Arts in Ústí nad Labem, Czech Republic. I researched my grandmother’s story of exile in the former Sudetenland, where the city of Aussig (now Ústí nad Labem) is located. I combined this personal history with broader research on migration and exile movements in the region from the 19th century to the present, expanding my "Meet the Memory Person" project into this new context. The residency included a workshop with students at Jan Evangelista Purkyně University in Ústí nad Labem, a city walk, and my participation in the IDENT exhibition.For the city walk in December, I teamed up with sound artist Polina Kathsenka and theater enthusiast Jegor Kondratyuk. I built a lightbox suitcase to serve as a mobile archive for the mementos created during the workshops in Ústí and Munich. Polina Kathsenka explored themes of migration, transportation, and change through five sound compositions, utilizing samples from early 20th-century shellac records to create an intimate connection to the city's bygone soundscapes. Jegor Kondratyuk presented the collection of mementos in Czech, while I introduced the historical sites along our walk based on my research in the city archive and museum during my residency.

&#60;img width="1500" height="2034" width_o="1500" height_o="2034" data-src="https://freight.cargo.site/t/original/i/ef326d53a5324d2306d63269d48dd473754075b3b2dfdb82e822da7537f412bb/DUUL_Franziska_Windolf_performance_59_Zuschnitt.jpg" data-mid="242512737" border="0" alt="24" data-caption="24" src="https://freight.cargo.site/w/1000/i/ef326d53a5324d2306d63269d48dd473754075b3b2dfdb82e822da7537f412bb/DUUL_Franziska_Windolf_performance_59_Zuschnitt.jpg" /&#62;


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Images 24-38: “Meet The Memory Person – a performative monument”&#38;nbsp;
Images 24-35: Participatory city walk Ústi nad Labem
Images 36-38: Installation views IDENT exhibition at the House of Arts, Ústí nad LabemÚstí nad Labem (CZ), 2024Participatory city walk, Multimedia Objects, Light-box suitcase, 4 sound compositions Concept: Franziska WindolfDuration: 3hWorkshop participants:Alexey Yevets, Dmitrii Ostrtsov, Halina Prakapenka,
Hammoud Radwan, Matyáš Slabý &#38;amp; Barbora Šubrotová &#38;amp;
Jakub Klimeš, Polina Nagurnaia, Simona Pekařová, Sudipa
Roy
Workshop: 02.12.24 @ Jan Evangelista Purkyně University in Ústí nad Labem Faculty of Art and Design
Performers City Walk:
Franziska Windolf, Jegor Kondratyuk, Polina Khatsenka
City Walk: 04.12.2024, 5pm
 Sound compositions: Polina KhatsenkaLight-Box Suitcase with mementos exhibited at House of Arts, Ústí and Labem at IDENT 4. 12. 2024 – 8. 3. 2025
Artists: Pavlína Fichta&#38;nbsp;Čierna&#38;nbsp;(SK), Barbara&#38;nbsp;Holub&#38;nbsp;(AT), Valérie&#38;nbsp;Leray&#38;nbsp;(FR/DE), Darja&#38;nbsp;Lukjanenko&#38;nbsp;(UA/CZ), Silvie&#38;nbsp;Milková&#38;nbsp;(CZ), RAFANI&#38;nbsp;(CZ), Zdeněk&#38;nbsp;Svejkovský&#38;nbsp;(CZ), Michaela&#38;nbsp;Thelenová&#38;nbsp;(CZ), Slaven&#38;nbsp;Tolj&#38;nbsp;(HR), Franziska&#38;nbsp;Windolf&#38;nbsp;(DE)
Curator: Michal Koleček

Catalog in Czech and English language (p.16)
Video documentation Ústi nad Labem (2024)
Kindly supported by Schafhof Europäisches Kunstforum Oberbayern and House of Arts, Ústí nad Labem 


Photo credit: Filip Trubac, Jiri Dvorak


©Franziska Windolf. All rights reserved.

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		<title>For Monument's Sake!</title>
				
		<link>https://assembliesofimaginatives.com/For-Monument-s-Sake</link>

		<pubDate>Thu, 14 Dec 2023 08:49:21 +0000</pubDate>

		<dc:creator>Assemblies of Imaginatives</dc:creator>

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		<description>
	
	
For Monument’s Sake!

While studying for my Master's degree at the Royal College of Art in London in 2021, I often found myself in fashion studios, surrounded by discarded textile treasures. It was then when their multifaceted meaning and aesthetic language captured my interest and made me rethink patchwork - a textile technique that uses material scraps to create new fabrics. Pieces of felt, leather, fur, silk, linen and cotton are pieced together or appliquéd into larger designs. Historically rooted in domesticity, necessity, and community, the process is often associated with female labour.
Our building faced Kensington Gardens, dominated by the golden gleam of the Albert Memorial, a lavish Gothic Revival monument honouring Queen Victoria's husband, and Physical Energy by G. F. Watts, which symbolises the dynamic force of ambition and the human drive to achieve. Passing by these monuments daily, I reflected on my own presence within the college, which for centuries positioned itself as an institution boasting educational and artistic superiority. The sculptures themselves seemed to embody these values, most visibly in their manifestation of phallic individuality. 
I invited my friends to help me mend and patch the gap I sensed between the monuments and its surroundings together. We ventured into the park to engage with the statues through interventions and integrate their presence into our artistic processes. When we approached Physical Energy, the wind blew a heart-shaped leaf into the rider’s hand, making me think of letters as a form of a potential affective dialogue between monuments and audience. Other sources of inspiration included the physical experiments of covering the sculptures in Kensington Gardens with a growing patchwork and Leonora Carrington’s paintings of horses. It was the latter that eventually inspired me to climb Physical Energy.
The final stage of my reflections took the form of the collaborative work “For Monument’s Sake!” - an installation that implied wrapping and covering a moveable structure to confront the scale of Kensington Gardens statues and create an ambivalent anti-monument, a textile remix of the garden sculptures and our engagement with them. 
To make the cover I used a patchwork technique that revealed the act of mending and layering in relation to the immediate environment. Among the materials I chose for this piece, there were printed images, letters, portable sculptures and assembled textile volumes. “For Monument’s Sake!” thus proclaimed the value of “monumental patchwork” as an unheroic, resourceful and joyful artistic process. During the opening of the graduation show, my fellow artists and I also performed as “Walking Monuments”, engaging in dialogue with visitors.
Of the almost 1,500 monuments in London, more than a fifth (20.5%) are dedicated to named men, and only 4% to named women. The number of sculptures featuring animals (nearly 100) is actually double that of named women*. This disparity inspired me to create a counter-monument that celebrates female, marginal, and collective experiences, in an attempt to “patch the distance” between my textile work and the institution of history.


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&#60;img width="1000" height="1666" width_o="1000" height_o="1666" data-src="https://freight.cargo.site/t/original/i/358ad091b804cec79817c23f0683b13ff42f7c63cc86e50fc825fd1070ffd99c/GJM00179_2_webexp1000pxw-100.jpg" data-mid="243260000" border="0" alt="7" data-caption="7" src="https://freight.cargo.site/w/1000/i/358ad091b804cec79817c23f0683b13ff42f7c63cc86e50fc825fd1070ffd99c/GJM00179_2_webexp1000pxw-100.jpg" /&#62;

“For Monument’s Sake!” installation elements and extensions:
The Leonoracle sculpture refers to G.F. Watts’s Physical Energy in Kensington Gardens - a dramatic representation of a rider on a rearing horse, which I patched this with the depictions of horses by the British and Mexican Surrealist painter and novelist Leonora Carrington (1917–2011). As a tactile “oracle,” the sculpture was designed to act as interactive: during the opening, my fellow artists and I encouraged visitors to examine the piece and turn it around in their hands. They were also invited to write their ideas for the future of the park statues on a balloon.


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Shawl 1 &#38;amp; 2 digital patchwork is based on an archival image of G.F. Watts with the first cast of Physical Energy, which I manipulated by replacing the rider with a fictitious textile character of the shawl. Next to the photograph, there is a letter the shawl wrote to the Horse, containing the criticism of imperialism and its harmful consequences. The letter also addresses the statue, the photograph, as well as the nature and potentiality of other elements from the historical and media-reflective perspectives.

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The piece below, titled “There Are Many Called XXX,” is a digital patchwork based on one of my photographs. It depicts a scene featuring a rolling pin, modeled wax figures, and a laptop screen displaying the image of Albert Memorial - here referred to as “Big Albert.” In the accompanying text I describe the scene components as protagonists in interaction.


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“Big Albert's golden glow made their backs supple, slowly caving in. The sound of the letters jumping on the keyboard anticipated a sudden spin of the rolling pin. Forestalling the collapse of their poses, they happily gave in to Big Albert’s siren call... .They found themselves thrown against a window directly overlooking Big Albert, but never reaching their desired fusion. Only the whopping punch of their bodies suggested Big Albert was (a) hit indeed.” (Text: Franziska Windolf, 2021)


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Using portable elements from “For Monument's Sake!” installation, I go outside, moving towards the statues in Kensington Gardens.


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Images 1-18: “For Monument’s Sake!”London (UK), 2022In collaboration with Alexa Chow, Lilac Emanuel, Leonid Hrytsak, Sofia Sanchez

Installation:Image 1, 3, 4: “For Monument's Sake!” Royal College of Art, 2022.
Fabric, print on fabric, thread, cardboard, foam clay, wood, metal, metal strings, reclaimed rack on wheels. 4,80 x 4,00 x 3,70 m.Image 2: “Walking Monument.” Royal College of Art, 2022. Performer: Alexa Chow. Garment by Franziska Windolf and Alexa Chow. Variable Dimensions.
Image 5: “Walking Monument.” Royal College of Art, 2022. Performer: Leonid Hrytsak. Garment by Franziska Windolf and Alexa Chow. Variable Dimensions.
Image 6:&#38;nbsp;“Walking Monument.” Royal College of Art, 2022. Performer: Lilac Emanuel. Garment by Franziska Windolf and Lilac Emanuel. Variable Dimensions.
Image 7: Detail.Image 8: “Leonoracle.” Royal College of Art, 2022. Gold plated bronze. 13 x 8 x 5,5 cm. In collaboration with Leonid Hrytsak.Images 9-13: Notes on Balloons. Performance „For Monument‘s Sake!” Royal College of Art, 2022. Including the installation and „Leonoracle“. Performers: Alexa Chow, Lilac Emanuel, Franziska Windolf, Sofia Sanchez, Leonid Hrystak. Duration: 3h


Digital patchworks:Image 14: “Shawl 1&#38;amp;2.” Royal College of Art, 2021. Digital collage. Variable dimensions. Image source: www.wattsgallery.org.uk.

Image 15: “There are many called XXX.” Royal College of Art, 2022. Digital collage based on a photo of hand-modeled wax figures, rolling pin and laptop. Variable dimensions. In collaboration with Lilac Emanuel. Text and image: Franziska Windolf. 

Intervention:


Image 16: “Throwing Little Alberts at Big Albert.” Royal College of Art, London. 2021. In collaboration with Lilac Emanuel. Video Stills by Lilac Emanuel and Franziska Windolf.


Image 17: Portable Albert Flounder. Royal College of Art, 2022. Textile, print on textile, reclaimed leather jacket, thread, rod. 176 x 117 cm. Image 18: “Revisiting Little Albert.” Textile, print on textile, thread, cardboard, foam clay, metal string. 176 x 117 x 5 cm. Hyde Park, London, 2022. 

Exhibited at Royal College of Art, Battersea, London, as part of RCA2022 Graduation show 23. – 28.09.2022

Kindly supported by Gilbert Bayes RCA Award 2022


Photo credit: Gabriel Mansfield, Leonid Hrytsak, Franziska Windolf


©Franziska Windolf. All rights reserved.Back

	
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Knotting

With the performance “Knotting,” I explore the transition between two- and three-dimensional reference systems and the dynamics of materials such as nylon and Dyneema rope slings, shoelaces, clay, and wool. In a scripted speech presented to the audience, I describe and demonstrate the materials' qualities and "sweet spots." I invite the audience to participate in hands-on experiments, including drawing shoelace knots, unraveling knitted sweaters, and twirling elastic ropes. The performance concludes with the presentation of a series of glazed ceramics that I frame as 'knots.' I invite visitors to hold and circulate these pieces, allowing them to physically engage with the objects and connect their tactile experience to the thought process explored during my performance.


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Images 1-5: “Knotting”2018Performance with glassboard, pens, shoe laces, different type of slings, clay, knitted sweater, wool, glazed ceramicsDuration: 40 min.
Exhibited at LIMBO, 7-17 Latona Road, London, 15. – 16. 3. 2018
 Artists:&#38;nbsp;Noémi Barbaglia, Robert Bergmann, Luca Borsato, Max Eicke, Mara Ittel, Yi Li, Sohorab Rabbey, Franziska Windolf, Lars Witte, Julia Annelies WyciskKindly supported by Karl H. Ditze Foundation. Exhibition exchange between the Art Department of the Goldsmiths, University of London, and HFBK Hamburg, 2018Photo credit: Amber Hahn, Sohorab Rabbey


©Franziska Windolf. All rights reserved.Back
Climb With Me

“I Want You to Climb With Me” explores parallels between the physical, mental and human processes of art making and climbing by drawing on personal experience and references from various fields in society, science, literature and art. The text aims at opening up both art making and climbing to the reader as something that is to be shared and yet not communicated without detours and failure: embodied knowledge and the very action of making sense are complex, site-bound and contextual and hence require an active and continuous positioning.
“I Want You to Climb With Me” first introduces my psychic and sensual understanding, handling of and relationship to matter as a daily endeavour, bridging climbing and art making as a mode for learning. It discusses how the very act of moving and touching can turn into a meaningful experience for oneself and others. The notion of movement in regard to questions of performativity and relativity is then explored by presenting a personal encounter with Dóra Maurer’s work at Tate London in 2020. Miwon Kwon’s discourse of site-specificity finally opens up my own art practice to an active engagement with ‘site’, considering it as a place of encounter and interaction. Distinct ‘traits’ form the specific personality of a space, they shape and are shaped by those who engage with it. The conclusions found by investigating ‘site-specificity’ are used in the text to deconstruct male and dialectic metaphors and clichés drawn from mountaineering. This opens up my perspective on making art to a broader field of daily life and visual art.“I Want You To Climb With Me”2021MA Thesis Sculpture, Royal College of Art, London
41 pages
Kindly supported by the German Academic Exchange Service, 2020-22


©Franziska Windolf. All rights reserved.
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Farbkörper


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&#60;img width="1800" height="2894" width_o="1800" height_o="2894" data-src="https://freight.cargo.site/t/original/i/08a1921fb0fb548b8e156329e9dc212638015737f5530d518274ca6a8a2e2589/FranziskaWindolf_2020_Glasierte-Keramik--Druck--Magnet_Mae-variabel_Installationsansicht-Detail-HFBK-Hamburg-Absolventinnenausstellung_webexp3-17MB.jpg" data-mid="238689278" border="0" alt="17" data-caption="17" src="https://freight.cargo.site/w/1000/i/08a1921fb0fb548b8e156329e9dc212638015737f5530d518274ca6a8a2e2589/FranziskaWindolf_2020_Glasierte-Keramik--Druck--Magnet_Mae-variabel_Installationsansicht-Detail-HFBK-Hamburg-Absolventinnenausstellung_webexp3-17MB.jpg" /&#62;
&#60;img width="1600" height="1067" width_o="1600" height_o="1067" data-src="https://freight.cargo.site/t/original/i/d9a7c2a2a5bb329122f33f36e0c8a2f6510e15489b6e3f4229ee58a5128e9bd4/180718_Franzi_015_webexp1600pxw-100.jpg" data-mid="238689216" border="0" alt="18" data-caption="18" src="https://freight.cargo.site/w/1000/i/d9a7c2a2a5bb329122f33f36e0c8a2f6510e15489b6e3f4229ee58a5128e9bd4/180718_Franzi_015_webexp1600pxw-100.jpg" /&#62;
&#60;img width="2000" height="1242" width_o="2000" height_o="1242" data-src="https://freight.cargo.site/t/original/i/5cba824d6761c601fa96c70f21fd2f0bda3e3960f13a2317c5dd31800161bd5f/180309_Franzi_116_ZUSCHNITT_webexp2000pxw--100.jpg" data-mid="238689259" border="0" alt="19" data-caption="19" src="https://freight.cargo.site/w/1000/i/5cba824d6761c601fa96c70f21fd2f0bda3e3960f13a2317c5dd31800161bd5f/180309_Franzi_116_ZUSCHNITT_webexp2000pxw--100.jpg" /&#62;
&#60;img width="2362" height="1575" width_o="2362" height_o="1575" data-src="https://freight.cargo.site/t/original/i/610fd2b92f392bb31b4f486089d9ff9cb28804874d9cf2b6eeb970df7326ed29/13.jpg" data-mid="238689274" border="0" alt="20" data-caption="20" src="https://freight.cargo.site/w/1000/i/610fd2b92f392bb31b4f486089d9ff9cb28804874d9cf2b6eeb970df7326ed29/13.jpg" /&#62;
&#60;img width="5760" height="3840" width_o="5760" height_o="3840" data-src="https://freight.cargo.site/t/original/i/ffde64f497939ae3bff5a1819eb4fcc426d963a54ba9f1a9bfc2b86d66df5325/F_Windolf_clay-glaze_2018-1.jpg" data-mid="238689266" border="0" alt="21" data-caption="21" src="https://freight.cargo.site/w/1000/i/ffde64f497939ae3bff5a1819eb4fcc426d963a54ba9f1a9bfc2b86d66df5325/F_Windolf_clay-glaze_2018-1.jpg" /&#62;
&#60;img width="1340" height="2192" width_o="1340" height_o="2192" data-src="https://freight.cargo.site/t/original/i/b0626beb1572cfe1c6221e0824c1c88fa6122f326cdc337cd5c388550ea1ffc7/Trompete_kleinerZUSCHNITTFreigestelltSttigung1_Webexp1340pxw--85.jpg" data-mid="238689215" border="0" alt="22" data-caption="22" src="https://freight.cargo.site/w/1000/i/b0626beb1572cfe1c6221e0824c1c88fa6122f326cdc337cd5c388550ea1ffc7/Trompete_kleinerZUSCHNITTFreigestelltSttigung1_Webexp1340pxw--85.jpg" /&#62;
&#60;img width="2000" height="1267" width_o="2000" height_o="1267" data-src="https://freight.cargo.site/t/original/i/e9148160710013333ab9d33bc0845dca15fcc09cb6cb0fd85453feaef930b98b/200120-Doku-0141-Kopie_webexp553KB.jpg" data-mid="238689269" border="0" alt="23" data-caption="23" src="https://freight.cargo.site/w/1000/i/e9148160710013333ab9d33bc0845dca15fcc09cb6cb0fd85453feaef930b98b/200120-Doku-0141-Kopie_webexp553KB.jpg" /&#62;
&#60;img width="2000" height="1015" width_o="2000" height_o="1015" data-src="https://freight.cargo.site/t/original/i/08a3bf2ea5562812e21f00ffb8b8a866d9857db1e5fba6c8c14091b7c0858f7d/200120-Doku-0123_webexp600KB.jpg" data-mid="238689273" border="0" alt="24" data-caption="24" src="https://freight.cargo.site/w/1000/i/08a3bf2ea5562812e21f00ffb8b8a866d9857db1e5fba6c8c14091b7c0858f7d/200120-Doku-0123_webexp600KB.jpg" /&#62;
&#60;img width="1800" height="2049" width_o="1800" height_o="2049" data-src="https://freight.cargo.site/t/original/i/d4134b80459a8e46a910d55958fc1d51f61ab226817864234ccfca34966262e8/190812_Franzi_0241_webexp3-13MB.jpg" data-mid="238689272" border="0" alt="25" data-caption="25" src="https://freight.cargo.site/w/1000/i/d4134b80459a8e46a910d55958fc1d51f61ab226817864234ccfca34966262e8/190812_Franzi_0241_webexp3-13MB.jpg" /&#62;
&#60;img width="2000" height="1194" width_o="2000" height_o="1194" data-src="https://freight.cargo.site/t/original/i/fe228b61d5e5d4a2ae620c0fe28e01291e4efce8982c1be63a89923011487a79/FranziskaWindolf_Bamboo--Schaumstoff-Guss_73x58x30cm_Studioansicht_Zuschnitt_webexp1-5MB.jpg" data-mid="238689268" border="0" alt="26" data-caption="26" src="https://freight.cargo.site/w/1000/i/fe228b61d5e5d4a2ae620c0fe28e01291e4efce8982c1be63a89923011487a79/FranziskaWindolf_Bamboo--Schaumstoff-Guss_73x58x30cm_Studioansicht_Zuschnitt_webexp1-5MB.jpg" /&#62;
Images 6-26: “Farbkörper” (selection)2016-2020

Glazed ceramic, paper, canvas, print
Variable dimensions, details on request
Exhibited at
 
Kunsthaus Hamburg as part of Further Thoughts on Earthy Materials 11.09. – 25.11.2018
Artists:&#38;nbsp;Suse Bauer, Katinka Bock, Neil Brownsword, William Cobbing, Anna Lena Grau, Ilana Harris-Babou, Emma Hart, Judith Hopf, Emre Hüner, Lou Masduraud &#38;amp; Antoine Bellini, Johannes Nagel, Kate Newby, Nicolás Osorno, Pablo Schlumberger, Kerstin Stoll, Jennifer Tee, Ingo Vetter, Franziska Windolf, Jesse Wine, Xiaopeng Zhou
Curator:&#38;nbsp;Katja Schroeder
 
Hochschule für Bildende Künste Hamburg, among other Graduation Show 13. – 15.07.2018Photo credits: Hanna Naske, Andreas Hopfgarten, Hayo Heye, Edward Greiner, Götz Sommer, Dagmar Weiß, Tobias Hübel, Ben Paetzold
©Franziska Windolf. All rights reserved.

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	</item>
		
		
	<item>
		<title>Editions</title>
				
		<link>https://assembliesofimaginatives.com/Editions</link>

		<pubDate>Tue, 11 Feb 2025 19:22:12 +0000</pubDate>

		<dc:creator>Assemblies of Imaginatives</dc:creator>

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Editions
Please find selected multiples below.For further enquiries: franzi.windolf@posteo.de


	&#60;img width="1443" height="2068" width_o="1443" height_o="2068" data-src="https://freight.cargo.site/t/original/i/df75b07c105e9b2f0aa7d3ac70fc7286bbbbb27e6f703a0e741b9731491515a6/IMG_2621_bearbeitet_12-22.jpg" data-mid="226729435" border="0"  src="https://freight.cargo.site/w/1000/i/df75b07c105e9b2f0aa7d3ac70fc7286bbbbb27e6f703a0e741b9731491515a6/IMG_2621_bearbeitet_12-22.jpg" /&#62;
	Amanat
2023Silver
6 x 3,8 x 0,4 cmCast from a 3D-printed form based on a hand drawing by the artist Edition of 6&#38;nbsp;
The Amanat is part of the Meet The Memory Person project. It features a quote in the Kurdish language paraphrasing Haydar Işık: “To those whose longing grows stronger the older they get”
	

	&#60;img width="1443" height="1933" width_o="1443" height_o="1933" data-src="https://freight.cargo.site/t/original/i/99210b368a30d509b0f5f0d06f542a902bbca59c73774354bfc892cca311fc28/IMG_2618_bearbeitet_12-22.jpg" data-mid="226729436" border="0"  src="https://freight.cargo.site/w/1000/i/99210b368a30d509b0f5f0d06f542a902bbca59c73774354bfc892cca311fc28/IMG_2618_bearbeitet_12-22.jpg" /&#62;
	Amanat2023Silver6 x 4 x 0,4 cmCast from a 3D-printed form based on a hand drawing by the artist Edition of 6 

The Amanat is part of the Meet The Memory Person project. It features a quote in the Russian language paraphrasing Wladimir
Nikolajewitsch Woinowitsch: “To those who wander between worlds”
	

	&#60;img width="1443" height="2013" width_o="1443" height_o="2013" data-src="https://freight.cargo.site/t/original/i/c5a28ee26aa4fb5fab5da700c0cbe6606f0fd0f8f593e8ffe298c7b208fea6bd/IMG_2620_bearbeitet_12-22.jpg" data-mid="226729437" border="0"  src="https://freight.cargo.site/w/1000/i/c5a28ee26aa4fb5fab5da700c0cbe6606f0fd0f8f593e8ffe298c7b208fea6bd/IMG_2620_bearbeitet_12-22.jpg" /&#62;
	Amanat2023Silver5,4 x 3,7 x 0,5 cmCast from a 3D-printed form based on a hand drawing by the artist Edition of 3&#38;nbsp;

The Amanat is part of the Meet The Memory Person project. It features a quote in the Czech language paraphrasing Ivan Binar: “To those who commemorate the unknown in the shadow of the known”
	

	&#60;img width="1028" height="1619" width_o="1028" height_o="1619" data-src="https://freight.cargo.site/t/original/i/8ed3be39172c1a5c7d8a0ee0e9721db9999bb1a2d96c7afe2dc1ab0427d5e749/IMG_2617_bearbeitet_freestyle.jpg" data-mid="226731265" border="0"  src="https://freight.cargo.site/w/1000/i/8ed3be39172c1a5c7d8a0ee0e9721db9999bb1a2d96c7afe2dc1ab0427d5e749/IMG_2617_bearbeitet_freestyle.jpg" /&#62;
	Amanat2023Silver6 x 2,7 x 0,4 cm

Cast from a 3D-printed form based on a hand drawing by the artist Edition of 8&#38;nbsp;The Amanat is part of the Meet The Memory Person project. It features a quote in the Arabic language paraphrasing Adnan Al-Dhahir: “To those whose home is the universe”

	
	&#60;img width="5586" height="7691" width_o="5586" height_o="7691" data-src="https://freight.cargo.site/t/original/i/c8937c5f007595e60ea9024b7d37d558278e1acc868e979671ead9c8e24fea25/MTMP_Cover_Windolf_exp.jpg" data-mid="226731711" border="0"  src="https://freight.cargo.site/w/1000/i/c8937c5f007595e60ea9024b7d37d558278e1acc868e979671ead9c8e24fea25/MTMP_Cover_Windolf_exp.jpg" /&#62;
	Expandable catalog 
Meet The Memory PersonA collaborative and performative monument

202323 x 31,5 cm
Edition of 100
Authors:  Mareike Schwarz, Burcu Dogramaci, Cathrine Bublatzky, Franziska Windolf
104 pages
Languages: German, EnglishPublisher: Dietmar KlingerISBN: 978-3-86328-198-4
©Franziska Windolf. All rights reserved.

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</description>
		
	</item>
		
		
	<item>
		<title>About</title>
				
		<link>https://assembliesofimaginatives.com/About</link>

		<pubDate>Tue, 15 Nov 2022 19:25:08 +0000</pubDate>

		<dc:creator>Assemblies of Imaginatives</dc:creator>

		<guid isPermaLink="true">https://assembliesofimaginatives.com/About</guid>

		<description>
	
	
	Education2022 MA Sculpture at Royal College of Art, London. 

2018 BFA Time-based media at Hochschule für Bildende Künste, Hamburg. Exchange semester at China Academy of Art in Hangzhou, and at The Royal Danish Academy of Fine Arts in Copenhagen.

	
Selected exhibitions2025
Voices of Memory. Brunel Shed, Buckinghamshire New University, High Wycombe, ukPerformative Walk.&#38;nbsp;Day of the Open Monument, State Institute for Qualification and Quality Development in Schools. Hamburg, deVoices of Memory. Kampus Hybernská, Prague, cz
Transformation &#124; Fokus &#38;gt; Europa VI. Schafhof Europäisches Kunstforum Oberbayern, Freising, de 

2024

IDENT. House of Arts, Ústí nad Labem, cz 

Archived Ruptures – Ruptured Archives. Collaboration, Intervention, Resistance. Karin Sachs Gallery, Munich, de 
Global Munich. In Perspective. Kammerspiele, Munich, de

Meet The Memory Person. Six performances in public space. Giesing, Munich, de 


		2023 
Meet The Memory Person. A collaborative remembrance project. Open Studio, Workshop and Conversation. FLORIDA Lothringer 13, Munich, deMeet The Memory Person. Six performances in public space. Giesing, Munich, de
Toolbox with Sspatz, Compound Yellow, Chicago, usa
Scholarships / Awards2025Travel grant, Department of Culture, Munich, de
2024
Steiner Stiftung, catalogue funding, Munich, de

Project funding for Meet the Memory Person from the Department of Culture, 			District Committee 17, and Migration Council. Munich, de

2023Kunst für Uns!, Professional Association of Visual Artists Munich and Upper Bavaria E.V. (BBK), deLfA Förderbank Bavaria, catalogue funding, deKäte Hamburger Kolleg global dis:connect, Ludwig Maximilian University of Munich (LMU), de
Residencies2024
House of Arts, Ústí nad Labem, cz2022-23Artist in residence at Käte Hamburger Kolleg global dis:connect, in cooperation with the ERC-project METROMOD, LMU Munich, de
2022
Prick, Stitch, Vent &#38;amp; Pound, Standpoint Gallery, London, ukMerzbau Summer School, Elterwater Merz Barn, Cumbria, uk

	Talks(t)/ Workshops(w)/ Lectures(l)2025
Voices of Memory.&#38;nbsp;Artists’ roundtable. Brunel Shed, Buckinghamshire New University, High Wycombe, uk (t)
Encountering the Memory Person. Together with Cathrine Bublatzky. Memory Studies Association Conference, Prague, cz (t)
Experiments in a participatory culture of remembrance. 100th anniversary of the State Institute for Qualification and Quality Development in Schools. Hamburg, de (w) INPUT.&#38;nbsp;Schafhof Europäisches Kunstforum Oberbayern, Freising, de (t)


2024
Meet The Memory Person. Encountering Contemporary Monuments With A Handkerchief, Jan Evangelista Purkyně University in Ústí nad Labem, Faculty of Art and Design, cz (l)Meet The Memory Person. Jan Evangelista Purkyně University Ústí nad Labem, Faculty of Art and Design, cz. Collaboration with students (w)
Meet The Memory Person. Collaboration with teenagers and young adults, 103er Freizeittreff Giesing, Munich, de (w)2023
Meet The Memory Person. Collaboration with Giesing residents with international history. FLORIDA Lothringer 13, Munich, de (w, t)
Meet The Memory Person. Collaboration with sewers in exile, GOROD e.V., Munich, de (w)
Sommer.dok “Erinnerst Du Dich?!”, NS-Dokumentationszentrum Munich, de (t)

Publications / Press / Texts2025
Looking to the future with joy by Magdalena Wisniowska2024 
IDENT. Totoznost. 
History Is What You Carry with You by Luísa Telles 
Global Munich. In Perspective.
static, Vol. 3, No. 1. 

HALLO München (08/2024)
2023 
Meet The Memory Person, Klinger Verlag, Passau, de (ISBN 978-3-86328-198-4)Online: https://metromod.net/2023/05/30/ sewing-workshop-for-a-performative- monument/ 2021


©Franziska Windolf. All rights reserved.

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</description>
		
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	<item>
		<title>Imprint</title>
				
		<link>https://assembliesofimaginatives.com/Imprint</link>

		<pubDate>Tue, 25 Mar 2025 14:42:06 +0000</pubDate>

		<dc:creator>Assemblies of Imaginatives</dc:creator>

		<guid isPermaLink="true">https://assembliesofimaginatives.com/Imprint</guid>

		<description>
	
	
Imprint
KontaktdatenE-Mail: franzi.windolf(at)posteo.deInhalte gemäß §5 DDG

Quelle: Impressum-Privatschutz
HAFTUNGSAUSSCHLUSS (DISCLAIMER)
 
Haftung für Inhalte

 Als Diensteanbieter sind wir gemäß § 7 Abs.1 TMG für eigene Inhalte auf diesen Seiten nach den allgemeinen Gesetzen verantwortlich. Nach §§ 8 bis 10 TMG sind wir als Diensteanbieter jedoch nicht verpflichtet, übermittelte oder gespeicherte fremde Informationen zu überwachen oder nach Umständen zu forschen, die auf eine rechtswidrige Tätigkeit hinweisen. Verpflichtungen zur Entfernung oder Sperrung der Nutzung von Informationen nach den allgemeinen Gesetzen bleiben hiervon unberührt. Eine diesbezügliche Haftung ist jedoch erst ab dem Zeitpunkt der Kenntnis einer konkreten Rechtsverletzung möglich. Bei Bekanntwerden von entsprechenden Rechtsverletzungen werden wir diese Inhalte umgehend entfernen.

Haftung für Links

Unser Angebot enthält Links zu externen Webseiten Dritter, auf deren Inhalte wir keinen Einfluss haben. Deshalb können wir für diese fremden Inhalte auch keine Gewähr übernehmen. Für die Inhalte der verlinkten Seiten ist stets der jeweilige Anbieter oder Betreiber der Seiten verantwortlich. Die verlinkten Seiten wurden zum Zeitpunkt der Verlinkung auf mögliche Rechtsverstöße überprüft. Rechtswidrige Inhalte waren zum Zeitpunkt der Verlinkung nicht erkennbar. Eine permanente inhaltliche Kontrolle der verlinkten Seiten ist jedoch ohne konkrete Anhaltspunkte einer Rechtsverletzung nicht zumutbar. Bei Bekanntwerden von Rechtsverletzungen werden wir derartige Links umgehend entfernen.

Urheberrecht

Die durch die Seitenbetreiber erstellten Inhalte und Werke auf diesen Seiten unterliegen dem deutschen Urheberrecht. Die Vervielfältigung, Bearbeitung, Verbreitung und jede Art der Verwertung außerhalb der Grenzen des Urheberrechtes bedürfen der schriftlichen Zustimmung des jeweiligen Autors bzw. Erstellers. Downloads und Kopien dieser Seite sind nur für den privaten, nicht kommerziellen Gebrauch gestattet. Soweit die Inhalte auf dieser Seite nicht vom Betreiber erstellt wurden, werden die Urheberrechte Dritter beachtet. Insbesondere werden Inhalte Dritter als solche gekennzeichnet. Sollten Sie trotzdem auf eine Urheberrechtsverletzung aufmerksam werden, bitten wir um einen entsprechenden Hinweis. Bei Bekanntwerden von Rechtsverletzungen werden wir derartige Inhalte umgehend entfernen.
Quelle: eRecht24

All rights reserved. No unauthorized use, copying or reproduction of the images and/or text, whether for personal or commercial purposes, without the written permission of the artist Franziska Windolf.The artist does not take responsibility for the views expressed in, or contents of, external links.

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