Whose Land Have I lit on Now


S A V V Y Contemporary

The Laboratory of Form-Ideas

O P E N I N G   18.05.2018   19:00

E X H I B I T I O N   19.05. – 24.06.2018

W I T H Abbas Akhavan, Meriç Algün, Mounira Al Solh, Steeve Bauras, Deanna Bowen, Banu Cennetoğlu, Stephanie Comilang, Victor Ehikhamenor, Antje Engelmann, Louis Henderson, Eva Leitolf, Doris Maninger, Sabelo Mlangeni, Emeka Okereke, Neda Saeedi, Wolfgang Tillmans, Ming Wong, Tinofireyi Zhou

O P E N Thu–Sun 14:00–19:00

E N T R A N C E Plantagenstraße 31, 13347 Berlin

I N V O C A T I O N S   08.06. – 10.06.2018

W I T H Ulf Aminde, Mohamed Amjahid, Nacera Belaza, Seloua Luste Boulbina, Joshua Chambers-Letson, Jacques Coursil, Denise Ferreira da Silva, Heidrun Friese, Marque Gilmore, Niklas Maak, Lionel Manga, Negros Tou Moria, Peter Morin, Robert Nichols, Kettly Noël, Lerato Shadi, Nahed Samour, Farkhondeh Shahrouhdi, Safiya Sinclair, Aaron Wilson, among others

E N T R A N C E Gerichtstraße 35, 13347 Berlin

A B O U T   WHOSE LAND HAVE I LIT ON NOW? Contemplations on the Notions of Hostipitality unfolds through an exhibition, performances, lectures, film screenings and other time-based experiences to deliberate on concepts of hospitality and the triggers of hostility in hospitality.

     In an age of flourishing resentments and antipathy towards all that seems conceptually or physically “strange”/a “stranger,” in a time when the historical violence of the guest (as colonizer) over the host is reiterated and fortified, and in an era that increasingly turns hospitality into a neoliberal commodity, it becomes urgent to reconsider hospitality’s gradients of power. While departing from the national context of Germany, and taking Derrida’s notion of “hostipitality” as a point of commencement, the project is not limited in geography, history, philosophy nor culture to these origins, but rather addresses concepts of hospitality in a global context.

A S A V V Y Contemporary project in the framework of the Creative Europe program 4Cs: From Conflict to Conviviality through Creativity and Culture. In Collaboration with Or Gallery in Vancouver. 

4Cs was developed amongst the following partners: Faculdade de Ciências Humanas Universidade Católica Portuguesa FCH|UCP (PT), Tensta Konsthall (SE), SAVVY Contemporary (DE), Royal College of Art (UK), Fundació Antoni Tàpies (ES), Vilnius Academy of Arts (LT), Museet for Samtidskunst (DK) and ENSAD (FR).

S A V V Y Contemporary Plantagenstraße 31, 13347

F U R T H E R  D E T A I L S savvy-contemporary.com

Doris Maninger Austrian Landscape, 2018 a SAVVY Contemporary project in collaboration with Or Gallery (Vancouver) in the framework of the Creative Europe program: 4C’s program: from conflict to conviviality through creativity and culture, EU.


Doris Maninger Austrian Landscape, 2018 a SAVVY Contemporary project in collaboration with Or Gallery (Vancouver) in the framework of the Creative Europe program: 4C’s program: from conflict to conviviality through creativity and culture, EU.



Travelling North and travelling South

as always I am way behind in talking about my ‘activities’ writing posts and commenting. But then why do I actually do it, can anybody be interested in what I do, what I think, the photos I take. Why put it on a blog, on instagram, on Facebook. Once in a while I get this urge to go into the unknown world of the web, and then I start looking at how many people see what I post, do I get likes and why and why she/he gets more. A mystery or maybe just some unknown algorithm. In any case here I am again, maybe just because sleeping becomes more and more difficult and so instead of turning around why not do this?

travelling South means Egypt, travelling South is exotic but also familiar, travelling South means new images for my mental and not only mental archive. There is this wonderful book, I think the last one of John Berger its called Confabulations. I just found it by chance travelling South, thought it was an old one but then I noticed no, its from 2016 so just before he died. I dont know who left the book there for me to find, it was ‘begriffen’ not sure if this German word is actually the right one but it is the only one that describes how the book was: Begriffen – means it was touched you could see the marks of hands on it, begriffen also means understood. Wonder of the German language: begreifen : to understand, understand because your hands have touched – your hands that know much more than your brain and only by touching you really get into things.

In the South you touch a lot, a lot more than in the North. Northern touching is almost no touching, its seemingly a touch but then its like embracing air or maybe better a shadow. Shadow smiles and shadow kindness but maybe its just because I was there in Winter, in the dark season, maybe Summer is totally different – would make sense even according to the theory of ? and now I lost another word science of heat – no its not this, thats not scientific but maybe somebody knows what I mean. Warmth/heat (terapia del Calore) makes particles move and expand in absence of heat everything stops. When everything stops there is no friction, so again no heat, no thinking – ever thought of the fact that when we think we produce heat, as the computer in my  lab does right now ( thinking for me and correcting my errors)


beautiful also there, a bit scary at times, a bit lonely, the desert is lonely and also scary but it has a totally different feeling to the loneliness, for me it is a healthy one. One that makes me look to the sky with awe, with wonder with a sense of ‘I can never get enough of this’ the Northern loneliness is cold (of course it is cold) it makes you want to hide, get into a dark warm hole, womb of your mother, wants a soft touch on your skin,  warm breath on your cheek, cuddling, sleeping, dreaming of sun.



this difference of light does it all and effects everything our thoughts, our ways of living, how we eat, how we feel, how we socialise, how we make art how we not make art

So of course my 2 workshops with the same theme : A ring for the past, a ring for the present, a ring for the future had very different outcomes in Cairo and in Kolding, Egypt and Denmark.





Bella per Forza: the continuation

Coming soon the wonderful festival in the little town in Calabria

Giardini delle Esperidi

Ecco i progetti artistici che abbiamo in cantiere per l’edizione 2017 del Festival:

Bella per forza 30×60 il progetto di arte partecipativa che l’artista austriaca Doris Maninger ha realizzato per Giardini delle Esperidi in collaborazione con il Comune di Prato e che in questi mesi ha già entusiasmato molte comunità in tutta la Calabria: un tappetocollage per definizione in progress, che unisce, si trasforma e trasforma.
Colori, disegni, motivi che hanno una forte specificità “individuale” e che sommandosi gli uni agli altri, creano una nuova entità formale ed estetica. Produzione di bellezza a mezzo di bellezza: l’unione “fa” la bellezza attraverso l’armonizzazione dei singoli contributi, nello stesso tempo insostituibili e intercambiabili. Le opere realizzate durante questi mesi saranno esposte in tutta la loro grandezza come è già accaduto nel Castello del borgo medievale di Caccuri.

Landscape Peels (bucce di paesaggi): Per la nuova edizione del festival l’Associazione Pensando Meridiano ha…

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Bella per Forza 30×60

‘Can’t avoid beauty 30×60’
my new project produced by ‘Giardino delle Esperidi, Festival’


A carpet-collage by definition a work in progress, links together continuous changes and transformations. Colors, drawings, and motifs that each have strong “individual” characteristics and when added to each other create a new, formal and aesthetic entity.
Creation of beauty through beauty: It’s the union that which “forms” beauty through the harmonization of every single piece, at the same time irreplaceable (no one is the same) and  interchangeable. There are no protagonists, because everyone is a main player and there are no “stars” because “the star” is the unification.

In realities (places) that may have lost the sense of “being together”, solidarity (internal, not only towards the “other”), the common good of this project aims to indicate the possibility of new routes or strategies to recover the deep (not just altruistic) reasons of “social” living. It is a common work to link communities, groups, and associations. In numerical terms, the expected result can be condensed into a formula:

1 + 1 = 3    1,000 + 1,000 = (Basics of fantastic math).


In short, the work, participatory art and collective aesthetic emotions, seeks to get one or more communities, stable or temporary (or a mix of the two), to gain awareness of the magnificence deriving from collective work.
A”collaboration”, among other things, realized with the simplest and poorest means one can imagine (30 * 60 cm cotton fabrics, fabric colors, and potatoes).

A “whole” that needs the participation of everyone to change scale and acquire a higher sense, conceptual and formal, which shows and contains the contribution of each individual participant, but in which individuality disappears and blends together to form a new essence.

Very simply but, hopefully, powerfully something beautiful, where everyone is present within a process and a “frame” of basic rules (size of the cloth, choice of colors, sewing mode).

The result of this operation, which will be beautiful almost by force, should show everyone that collective creation without competition assures beauty, at the same time emphasizing diversity without exalting individual contribution.

It is not metaphor, but the actualization of what is often considered only utopia. The collective work becomes an object, which remains and can be easily preserved, being “displayed” and expanded in different places, acquiring a new form and new meaning each and every time.





In detail, the goals that will be achieved through “Can’t avoid beauty 30×60 “are:

– To stimulate a collective and manual work involving people and cooperation, “variable composition sets”, also geographically distant.


– To remember / recall the traditions of belonging (the use of fabrics, sewing, etc.), enabling them in a simple and collaborative work.

– To realize a creative work that will at the same time be “provisional” as performance and permanent by what is accomplished will remain and can be expanded.

– To create a “bridge” between different territories to read reality and its possible developments also from an outside view (in this sense, the use of textiles from Prato, which were and are still to a large extent the symbol of the most “historical” “of the district economies.  This assumes a strong symbolic value, also in function of the recent constitution of the rural district of the Middle Ionian.


– To see the need for a link between people, between each other, and urban scenarios – places, houses, or whatever constitutes the identity of a community, referring it not only to the past, but also to the present and the future.

Last but not least, the use an iconic product like the potato also a symbol of migration, adaptation and transformation…


The project is divided into three phases:

  1. On site and “itinerant” workshops will take place in schools/ institutions, with associations, festivals or cultural events, where all the materials needed for the creation of individual panels (30 * 60 cm in size) will be provided by the organizers.
  2. Subsequently the panels will be assembled and sewn to form one single sheet. It will always be possible to extend the sheet, replicating the action (in new contexts and occasions in physical terms and “sense”).

3) The work will be “shown” and performed in particular locations and events.











The project will soon get its own blog, telling the stories of each encounter and the making of the cloth