BETWEEN THE VOICES
Tag des offenen Werkes
Zentralwerk, Dresden
10 May 2026
Between two opposing balconies, a network of tin-can telephones stretches across the room. Transparent fishing lines run through the air, almost invisible. Some lines are positioned slightly higher, others lower, so they do not touch and the voices can continue moving through the system. When someone speaks, it often becomes impossible to tell where their voice is actually going.
With every additional line, the system began to change. The clear connections slowly dissolved. Conversations overlap. Fragments appear. Sounds wander. Some voices arrive clearly, others only as whispers, echoes, or unfamiliar noise.
Sometimes someone answers. • Sometimes only fragments can be heard. • Sometimes several people speak at once.
The network functions without digital mediation, without screens, without algorithms. Only through tension, material, resonance, and proximity.
Visitors do not enter a conventional space of communication, but an unstable web of voices, coincidences, and connections. A system in which one can never be entirely certain who is listening — or whether one’s own voice may have already ended up somewhere else.
2026
× — ‡ — ×
The work began as a simple tin-can telephone. A direct connection between two people. One voice here, another voice there.
METRA
Another way of measuring time
Opening: 6 February 2026 // 6 p.m.
HORNIG Areal, Waagner-Biro-Straße 39, Graz AU
The pace of the world is accelerating, and different tempos or one's own rhythm often have little place in everyday life. Half of humanity is additionally equipped with a cycle that regulates many things, from their emotions to their mental and physical abilities. But every month is different – cycles change and the unpredictability experienced requires flexibility and creates special realities of life, which are highlighted in the Metra exhibition.
Artists: Maria Schneider, Lisa Maria Baier, Belinda Winkler, Helene Thümmel, Anna Sommer, Ren Aldridge, Catrin Manoli, Filomena Padovan, Consuelo Mendez, Nayari Castillo, Margarethe Maierhofer-Lischka, Esther Gschweitl, Andrea Baltzer
Der Pegel
The Level
Graz, 2025 - room installation with 8 Laser constructions and haze
How can the inconceivable be made measurable? The installation „The Level“ transforms an abstract, global statistic into an immediate spatial experience.
At the core of the work lies a volume of 343,050 liters at a fill level of 2.50 meters—a figure that gains its radical significance only through the factor of time. This is the amount of menstrual blood shed globally in a period of just 162 minutes. As visitors move through the space, the invisible clock of the collective cycle fills up.
The work visualizes the sheer mass of a process that, despite its omnipresence, remains largely confined to the private, the hidden, and the taboo. „The Level“ is not a static object; it is the manifestation of a permanent, worldwide rhythm. It calculates the reality of 1.9 billion bodies acting in synchronicity.
In a world fixated on efficiency and data, „The Level“ holds a mirror to our own biology:
• 2 hours and 42 minutes.
• A space full of life, loss, and renewal.
• A volume that knows no pause.
The installation invites us to re-situate the dimension of the human body within the global framework. What we perceive as an individual experience floods the collective consciousness here, minute by minute.
Zapis przejścia / Record of transition, which opens tomorrow, Wednesday 14 January 2026, at Galeria Miejska / Pracownia
Opening details:
Date: Wednesday, 14 January 2026
Time: 18:00
Venue: Galeria Miejska / Pracownia (GM/p), Ruska 47/48A, Wrocław
Warm regards,
Marta Kubiak & Walter Rindone
Galeria Miejska / Pracownia
Ruska 47/48A, Wrocław
Winter
1-channel video installation, 2025
From the private archive of André Brusemas, I discovered a striking photograph taken somewhere between 1938 and 1942: people standing in monumental snow drifts in the Münsterland region — vast, sculptural landscapes of white. Today, such scenes have almost slipped into myth. It is December now, and the air is unseasonably warm; snow has become a kind of utopia, a memory more than a reality.
I animated the figures in the photograph, breathed a slight movement back into their frozen postures, and let them inhabit their former world once more. There is something both tender and unsettling in reviving these moments: the realisation that snow — once an ordinary element of winter — has become historical, distant, almost fantastical. These revived images are not only memories of people, but memories of a climate that no longer exists.
Three acts
about cleaning
2025
My three-channel installation (shown at Künstler*dorf Schöppingen) explores traces, memory, and visibility of democracy.
Three projections – three perspectives on the disappearance and reappearance of words, labor, and collective remembrance in public space.
The installation continues my performative work for the Day of German Unity, when I wrote sentences from the East German citizens’ movement on the street – and then washed them away with a pressure cleaner. What remains is a trace – and the question of what stays visible when memory is erased.
All in the same boat
Künstler*dorf Schöppingen 2025
Videothek
an Archive of self recorded VHS
used for Audio visual performances
2020-2025
Looking through the fence
3-channel video installation with sound on insect nets, 2025
former NATO site NRW
Looking through the fence, the mesh of this barrier is always present in the gaze. It can never be erased, no matter which plane is in focus. The fence is always there. For me, as an East German, this view captures a lived feeling: of spaces that have been devalued, of landscapes where factories stand still, work has disappeared, and new narratives are imposed—narratives of ingratitude, of an alleged lack of democratic capacity—an existence within a kind of non-space. This sensation is mirrored in the former NATO site in NRW, designated in the 1980s as a special munitions depot where, in the event of conflict, nuclear warheads could have been stationed.
9. November 2025
performative Video intervention
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I project a shattering pane of glass onto a window.
As I do every year. For many years now.
From the outside you can hardly see it.
Only when water touches the glass
does the fracture become visible.
Then it disappears again.
I stand outside.
Wait. Spray.
Wait again. Spray again.
What is visible depends on breath,
on cold, on water.
Today is the anniversary of the Night of Broken Glass.
The sound is a spoon
tapping against a glass.
Like a heartbeat.
Like someone trying to speak.
Never forget.
Future Pavillion - Dialog City Aschaffenburg
As an artist-in-residence within the international Dialog City project, I developed a participatory research practice that brings visibility to the undocumented histories of women working in the Stockstadt paper mill, which closed and was demolished in 2025. Based in a pavilion created in collaboration with the French artist collective Quatorze and the City Archive of Aschaffenburg, I used the space to gather oral histories, examine archival absences, and build a feminist visual archive. Because no photographs of female workers from the mill existed in the municipal archive—despite their historical presence—I generated AI-based images that reimagine these women through a female photographic gaze. Installed as large banners in the pavilion, these images became the starting point for collective reflection on invisible labor, industrial memory, and the politics of documentation.
Papiernetz
Exhibition at the City and Abbey Museum in Aschaffenburg 2025
Collective paper making at the Aschaffenburg City Archives using a specially developed mould. I made a digital print on this collective handmade paper – the MARTA network becomes visible.
Kulisse
Kunsthaus Dresden, 2023
Kulisse
made for Görlitzer Art 2021
Where the border is
staged documentary photography
-Tarczyn, Poland 2023
Research and reconstruction of images and sceneries in the landscape of events.
Based on stories told by my Silesian grandmother, Edith Renner (1925-1999).
Cenotaph
Tarczyn (Poland), 2023
Intervention in public space
in cooperation with Oppenheim Galery
Shared Memories ; is an original exhibition of graphics by Lisa Maria Baier, created with the help of artificial intelligence powered by archival photos and historical documents belonging to Polish refugees from the 1930s and 1940s and German refugees after 1945. The exhibition is part of the monthly residency program implemented by the Departments of Culture of the partner cities - Wrocław and Dresden.
Animated Anastatic Prints
work was developed with the support of a custom-trained AI model.
Breslau 2025
IMMER NOCH | NADAL
27.04.2024
Deutsch-polnische Ausstellung in der Kunsthalle Görlitz greift Brüche und Kontinuitäten in Niederschlesien auf.
Opening Friday, 27 September 2024, 7 p.m.
Introduction: Maxi Wollner
Closing Friday, 8 November 2024, 7 p.m.
In her exhibition ‘Ausrüstung’ (Equipment), the artist intensively explores the complex themes of armour, tools, weapons, prison, uniformity and violence. This exhibition brings together videos, photographs and texts from various regions of Europe, including Bosnia-Herzegovina, Poland, Saxony and Rotterdam. The works come from her personal archive and have been carefully curated to highlight the historical and current relevance of these themes in a European context.
Banners
2015 - 2024
3 channel video installation
out of the archive bullet holes
Sarajevo 2023
Videocity x riesa efau x SET
Let the Grassroots Grow: Simply Nature
Tannen
about a manufactured idylls and restless pines.
2019
KUNST GEGEN RECHTS
15. Februar – 16. März 2025
Kuratiert von Dirk Teschner & Mieze Südlich
Eröffnung: Freitag 14.Februar 2025 19:00
Mit: Stefan Alber, Marie Athenstaedt, Lisa Maria Baier, Florian Bräunlich, Erik Buchholz, Yvon Chabrowski, DAG, Frank Diersch, Peter Dobroschke, Thomas Draschan, Tony Franz, Moritz Frei, Zita Frohloff, Stella Geppert, Ingo Gerken, Paule Hammer, Christian Henkel, Annika Hippler, Verena Issel, Alex Lebus, Joachim Lenz, Lukas Liese, Frank Maibier, Antonia Mang, Peter Mell, MINETTA, Caterina Mitwalsky, Lennart Münchenhagen, Anne Mundo, Erik Niedling, Ingo Niermann, Tommy Neuwirth, Manfred Peckl, Cornelia Renz, Michal Schmidt, Silke Silkeborg, Ivonne Thein, Raul Walch, Christian Werner, Ina Wudtke aka T-INA Darling & Felix Kubin & Mark Boombastik & Dieter Lesage, Uta Zaumseil
Öffnungszeiten:
Do: 12 – 17 Uhr | So: 15-18 Uhr
und nach Vereinbarung
MIEZE SÜDLICH
NGfZK/ Häselburg
Burgstraße 12,
07545 Gera
Wiederaufgehängt, 2024
Das Wiederaufhängen von zerstörten Wahlplakaten als Kunstaktion ist ein vielschichtiges Mittel, um für demokratische Werte zu werben und gegen Intoleranz und Stellung zu beziehen. Es dient als Symbol der Wiederherstellung und des Respekts und kann gleichzeitig den öffentlichen Diskurs über wichtige gesellschaftliche Themen anregen.
Aktion in Kooperation @torsten_schulze
Reposting destroyed election posters as art is a multi-faceted means of promoting democratic values and taking a stand against intolerance. It serves as a symbol of restoration and respect and can also stimulate public discourse on important social issues.
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„Where the border is"
2023 Poland
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"Where the border is"
2023
Poland
In cooperation with OP enheim Wroclaw
In the area of Poland where I am currently staying to study borders, war traumas and ethnic wars, there lived Poles, Germans, Czechs, Slovaks, including many Jews, Ukrainians, Russians and Roma. A cultural melting pot with a lot of potential. The constant struggle for territory claimed hundreds of thousands of victims on all sides. Stories are told of how people were repeatedly resettled and expelled, how their homes were taken away from them and many could not cope. There are stories of trees from which landowners hanged themselves because they did not want to and could not leave their property, their farms and lands. Many have no graves.
INVITATION 05.06.2023 12:00-20:00 @dkcsarajevo, Kranjčevićeva 24, Sarajevo
Hello,
I am the artist who put up and distributed the A4 posters in public space in Sarajevo to ask for opinions about the EU. "Šta je za vas Evropa?". I myself am critical of the EU, that's why I'm doing this project. Especially when you look at the hot situation in Ukraine. Since many Bosnians have told me that they would rather talk to me live than write, I will do a Chat day @dkcsarajevo
Zdravo,
Ja sam umjetnik koji je postavljao i distribuirao plakate formata A4 na javnom prostoru u Sarajevu da tražim mišljenje o EU. "Šta je za tebe Evropa?". I sam sam kritičan prema EU, zato radim ovaj projekat. Pogotovo kada pogledate vruću situaciju u Ukrajini. Pošto su mi mnogi Bosanci rekli da bi radije razgovarali sa mnom uživo nego pisali, napraviću Chat day.
Šta je za vas Evropa? Umjetnica sam iz Njemačke i nikad nisam iskusila rat. U potrazi sam za složenim odgovorima i pitanjima. Molim Vas da mi napišete svoje iskreno mišljenje.
Kliknite na tekst! Pratite link!
Click on the text! Follow the Link!
Klicke auf den Text! Folge dem Link!
Sinoć su me pitali da li sam ja osoba koja je postavila postere u
javnom prostoru i postavljati pitanja o Evropi. Odgovorio sam da. Čovjek je pitao da li mislim na Evropu ili EU. Uostalom, Bosna i Hercegovina je dio Evrope. Rekao sam da se radi o EU. Pitao je i zašto nisam izrazio svoje mišljenje o EU. Mislim da moji plakati u svom vizuelnom obliku odlično izražavaju moj stav prema EU.
Project funded by NEUSTART KULTUR-Programm der Beauftragten der Bundesregierung für Kultur und Medien and Stiftung Kunstfonds
In my projects, it is always important for me to make contact by throwing questions into the public space. When talking about public space, some evidence seems obvious. Public space is the space that is not privately appropriated, to which there are no restrictions on access, and which, as common property, isavailable to all people. Public space is also at the center of political debate, because public space is the political and public space is the space of democracy. So democracy and public space seem to be closely linked. That's why it's very important for me to physically bring my questions about democracy into this space. In the absence of direct access to tangible reality beyond their own living environment, most people orient themselves to images that they more or less create themselves; in my project I relate this to Europe. However, the images of Europe as it is and as we see it can be completely contradictory. How does a public opinion form, how does a national will, a group spirit, a social goal, etc. emerge? Who is responsible for using and harnessing the images that shape society politically? I wanted to find out here in Bosnia and Herzegovina, in a country where the war is still so close, what image people here have of Europe. What image they have in connection with the current developments of the war in Ukraine and whether the image that prevails in Europe of being able to define reason and democracy has cracks.
"Wo ist der jüdische Friedhof?"
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"Was wäre, wenn es deinen Raum nicht mehr gibt?"
Über Kreativräume in Dresden, ihr verschwinden, ihren Erhalt und die Hoffnung auf Zukunft.
Ein Film von Lisa Maria Baier in Kooperation mit dem Kunsthaus Dresden und der Robotron Kantine, Hansestrasse 3, Proberäume am Sektor Evolution, den ehemaligen Proberäumen an der alten Wetterwarte, dem ehemaligen Freiraum Elbtal und dem Geh8.
Vielen Dank an Suntje Sagerer mein Projekt als Artist in Residence in ihrem MAG Bus verwirklichen zu können. Das Projekt ist andauernd. Es folgt eine Kooperation mit dem Künstlerbund Dresden.
About creative spaces in Dresden, their disappearance, their preservation and the hope for the future. A film by Lisa Maria Baier in collaboration with Kunsthaus Dresden and Robotron Kantine, Hansestraße 3, Proberäume am Sektor Evolution, the former rehearsal rooms at the old weather station, the former Freiraum Elbtal and Geh8.
Many thanks to Suntje Sagerer for realising my project as artist in residence in her MAG Bus. The project is not yet finished. A cooperation with the Künstlerbund Dresden will follow.
https://www.kuenstlerbund-dresden.de/gefaehrdete-kunstorte-in-dresden/
MAG Bus
in cooperation with Suntje Sagerer.
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Briefe aus Herrnhut
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#KulturDigital: "Briefe aus Herrnhut" ist ein Blick durchs Schlüsselloch nach Herrnhut in der #Oberlausitz. In Briefen und Mails teilten die Einwohner*innen ihre Erfahrungen mit mir und was ihr Leben in Herrnhut prägte. Wir dürfen nun den Ort in einer besonderen, erzählerischen Perspektive kennen lernen. 03/2021
#CultureDigital: "Letters from Herrnhut" is a look through the keyhole to Herrnhut in #Oberlausitz. In letters and emails, residents shared their experiences with me and what shaped their lives in Herrnhut. We may now get to know the place in a special, narrative perspective. 03/2021
funded by So geht sächsisch
Who
is
Andris Paraudziņš?
video work about the artistic research of finding "Max Mustermann" in latvia August 2020
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"Auf Rolle, female"
2020, Archiv
https://www.instagram.com/p/CJJN4_3lYlw/?utm_source=ig_web_copy_link
Als wir Christina Escobar, Kommunikationsleiterin des Representation Projects fragten, wie wir Frauen in der Filmbranche unterstützen könnten, gab sie uns ein paar einfache Anregungen. „Geh raus und schau dir Filme an, bei denen Frauen Regie geführt haben. Am besten gleich an dem Tag, an dem sie anlaufen, oder in der Eröffnungswoche, weil diese Tage zählen am meisten, wenn es darum geht den Erfolg eines Projekts zu messen“, sagt Escorbar.
(https://www.refinery29.com/de-de/regisseurinnen-liste-hollywood-filme)
In dieser Arbeit möchte ich den Fokus auf Filmemacherinnen lenken. Ich habe ein Archiv erstellt in welchem ich aktuell daran arbeite 15 Filme von digitalen Medien mit meinem Handy partiell abzufotografieren und diese Bilder direkt über einen Bluetooth Printer, welcher auf Kassenzettelrollen druckt, zu "ent-digitalisieren". Am Ende kann man sich pro Rolle einen Film in subjektiv erstellten Stills vollständig ansehen. Für mich ist der experimentelle Umgang und die Auseinandersetzung mit dem Thema Frauen als Filmemacherinnen und das Medium Film als Abfolge von Bildern damit verbunden, dass ich mehr Sichtbarkeit schaffen möchte, denn es gibt nicht wirklich viele Frauen, die kommerziellen Erfolg in der Filmindustrie nachweisen können..
"On roll, female"
2020, archive
https://www.instagram.com/p/CJJN4_3lYlw/?utm_source=ig_web_copy_link
When we asked Christina Escobar, Communications Director of the Representation Project, how we could support women in the film industry, she gave us a few simple suggestions. "Go out and see films that women have directed. Preferably the day they open, or the week they open, because those days count the most when it comes to measuring the success of a project," Escorbar says.
(https://www.refinery29.com/de-de/regisseurinnen-liste-hollywood-filme)
In this work I want to focus on women filmmakers. I have created an archive in which I am currently working on partially photographing 15 films from digital media with my cell phone and "de-digitizing" these images directly through a Bluetooth printer that prints on receipt rolls. In the end, one film per roll can be viewed in its entirety in subjectively created stills. For me, the experimental approach and the exploration of women as filmmakers and the medium of film as a sequence of images is linked to the fact that I want to create more visibility, because there are not really many women who can prove commercial success in the film industry....
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"13 Februar 2020: Dresden, live"
Dokumentationsvideo, Überwachungskamera, Live Übertragung auf Screen im Schaufenster von "De schrouw", Witte de With Straat, Rotterdam
"Interventionen auf dem Heidefreidhof Dresden"
Video Projekt im Kunsthaus Dresden, 2019
20:24min
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"Buch der besonderen Vorkommnisse"
experimentelle Videodokumentation, 2018
Als Künstlerin überkommt mich in diesen Tagen in Deutschland die Angst. Diese Angst ist nicht nur die Angst vor den bevorstehenden Landtagswahlen, sondern die Angst, speziell in
Sachsen, vor dem Zusammenspiel des neuen Polizeigesetzes mit der AFD.
Seit einiger Zeit beschäftige ich mich mit dem Objekt Bildschirm, Monitor, als Symbol für das Verbildlichen von Situationen, Handlungen und Aktionen bei denen der Betrachter nicht dabei sein kann/will.
Dabei konzentriere ich mich auf Überwachungsmonitore (siehe das Projekt „Der Wächter“) und Bildschirme im öffentlichen Raum.
Für das Jahr 2019 habe ich mir verschiedene Projekte vorgenommen, welche sich alle um das Thema „Der Wächter“ drehen und die Auswirkungen behandeln von Überwachung, dem Recht auf Überwachung und dem Manipulieren von Überwachungstechniken.
Giftinsel, Dresden
2020, Schwimminsel, Abgase, 150x160cm
Installation für das Projekt "Leichter als Luft" in Kooperation mit dem Institut für Luft- und Leichtbau Dresden
Videodokumentation für den Utopia Contest in der Motorenhalle Dresden
https://www.facebook.com/riesaefau/?tn-str=k*F
"Non chalantly"
2019, Mixed Media Installation mit Projektion, Screening, Fotografien und Stickern
Goethe Institut Rotterdam
https://www.goethe.de/ins/nl/de/kul/sup/rnl/21645749.html
Rotterdam, 2. September bis 31.Oktober 2019
In ihrem Projekt Screening about Screens untersucht Lisa Maria Baier die öffentlichen Screens in Rotterdam, ihre psychologischen Aspekte, die Art und Weise, wie sie an architektonische Gegebenheiten angepasst werden, sowie die dargestellten Inhalte. Die öffentlichen Bildschirme werden von ihr dokumentiert und gefilmt, ebenso wie die Menschen, die sich die out-of-home-displays ansehen, und ihre Reaktionen auf die Inhalte. Daraus soll eine Pop-up Ausstellung entstehen mit Beteiligung von Rotterdamer und Dresdner Videokünstler*innen.
In Kooperation mit Kulturamt der Stadt Dresden und CBK R'dam.
"Something to do"
Videodokumentation, 2015/2016/2017/2018/2019/2020
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This video archive deals with actions that are located between meditative stages and criticism of the identification with work as a value of persons in society. Described as Sisyphean work, the archive shows in a rather monotonous repetitive manner, actions that always have no goal to the outcome. The eternal justification that we are not "loafers and parasites" in our society to confirm our value and position.
Fotodokumentation als Stop Motion Clip- Lichtpunkt auf Fotografie- Teil aus dem Archiv "Something to do- 2015"
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"Kasten über ernstes Wissen, deutsch"
2017, Kunsthalle im Oktogon Dresden, 500x500cm
Kunsthaus Dresden "Allways Trouble with Grandparents", 2018
Frau mit Flagge
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Obersalzberg ohne Menschen
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Volkskunst
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hinter Hitler
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"Wer die Heimat liebt"
2018, Rauminstallation, Mixed Media
alte Feuerwache Loschwitz
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"Burka, transparent"
2018, Mixed Media Installation, Projektion, Plastik, Stoff, Metall
260x300cm
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"Kalbe I II III"
2017, Videodokumentation aus der Residenz in der Künstlerstadt Kalbe
Kunsthalle im Oktogon Dresden
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"The title is trivial"
2017, Installation, digitale Rahmen, USB Verteiler, Kabel
"Talking Things"
2016, Fotocollagen auf Leinwand
Galerie Kramer, Bremen
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"Tannen"
Stopmotion, 2017
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"Tannen behandeln"
2017, Video
