WOMEN DISCUSSING IN POTSDAM TICKETS

Amrei Bauer ist Kuratorin und Nachlassverwalterin des künstlerischen Werkes von Annemirl Bauer. Seit mehr als drei Jahrzehnten bewahrt, erschließt und vermittelt sie den umfangreichen Nachlass der Künstlerin und hat zahlreiche Ausstellungen, Publikationen und Projekte initiiert und begleitet. Im Fläming betreibt sie das Annemirl Bauer Haus als Archiv, Ausstellungs-, Erinnerungs- und Begegnungsort. Dort kuratiert sie wechselnde Ausstellungen und die Veranstaltungsreihe „Kunst im Gespräch“ und führt regelmäßig durch Werk und Archiv. Seit 2014 ist das Annemirl Bauer Haus der 39. Frauengedenkort Brandenburgs.

Marie Egger is a doctoral candidate in art history at Freie Universität Berlin. Her research focuses on the relationship between visual art, politics, and the public sphere since the Cold War, particularly mail art in the GDR. She studied at Humboldt-Universität zu Berlin as well as Freie Universität Berlin and is the editor of the contemporary art section of the scholarly journal "kunsttexte.de". 

Florian Hein studied theater direction at the Hochschule für Schauspielkunst Berlin and has been active as a director ever since. His works have been staged at venues including Volksbühne Berlin, Deutsches Theater Berlin, Theater Magdeburg, and Residenztheater München. He also collaborates as a musician with artists such as Carolin Millner, Leon Kahane, and Jasmin Werner. His long-standing collaboration with Olga Hohmann has resulted in joint performances at venues including Fondation Beyeler in Basel, Kunsthaus Magdeburg, and Berghain Berlin. He regularly teaches direction and acting at the Zürcher Hochschule der Künste.

Olga Hohmann writes essays, prose miniatures, and meandering texts that are meant to be read aloud. She combines more or less fictional narratives with found materials in an almost musical form, blending them into a rhythmic hum that gives equal weight to slogans, aphorisms, and flashes of insight. Hohmann has recently performed at Westfälischer Kunstverein Münster, Kunstverein München, Kunsthalle Mannheim, Badischer Kunstverein Karlsruhe, Salzburger Kunstverein, Kunstmuseum Solothurn, Schinkel Pavillon Berlin, K21 Düsseldorf, Kunstverein Braunschweig, Stoschek Foundation Düsseldorf, Kunsthalle Osnabrück, Kunsthalle Düsseldorf, Kunstverein Harburger Bahnhof, Deutsche Oper Berlin, Roter Salon at Volksbühne Berlin, Archivio Conz, Kasseler Kunstverein, Fondation Beyeler, and at Silent Green Berlin as part of a "Texte zur Kunst" program.

Ulrike Kremeier is an Italian-German art historian. She is the director of the Brandenburgisches Landesmuseum für moderne Kunst, with its three exhibition venues in Cottbus and Frankfurt (Oder). As director, she has established a new programming policy that makes the collection the primary resource not only for exhibitions but also for educational formats and events. The museum’s holdings—the world’s most extensive and multifaceted museum collection of art from the GDR—have since been subjected to ongoing contextualization and art-historical scrutiny as a defining element of the institution’s identity. Her curatorial projects include Real Pop 1960–1985: Painting and Printmaking Between Agit Pop and Capitalist Realism; The Future Has Already Begun: On Life in Industrial Landscapes; Maximally Radical: Textile Objects, Films, and Performances from East and West from 1970 to the Present; The Days Were Numbered: Artists’ Books and Magazines with Original Prints and Photography from the Late GDR and East Germany; and comprehensive solo exhibitions of Annemirl Bauer, Christa Jeitner, and Gabriele Stötzer.

Wilfriede Maaß is a German ceramic artist. From the 1980s until the fall of the Berlin Wall, her workshop in Berlin-Prenzlauer Berg was an important meeting place for East Berlin’s independent literary and art scene. Together with artists from Dresden and Berlin, she created artistic ceramics and shaped the alternative art scene of the GDR.The exhibition “The Ceramic Workshop of Wilfriede Maaß”, currently on view at DAS MINSK Kunsthaus in Potsdam, explores her artistic practice and the special significance of her workshop as a place of artistic exchange and encounter.

Doreen Mende is a curator of contemporary art, a theorist of the politics of exhibiting, and, since 2021, director of the cross-collections research department at the Staatliche Kunstsammlungen Dresden (SKD), with a focus on the provenance of museum objects as witnesses, the natural sciences, and curatorship. She is currently developing the multi-year consortium min(d)ing: das relationale Kapital (with Thomas A. Geisler), launching in November 2026. Her exhibitions include The Missed Seminar (2022/23) with Steve McQueen at Albertinum and Haus der Kulturen der Welt in Berlin; Forensic Architecture: The German-Colonial Genocide in Namibia (2024) at Albertinum; and Candida Höfer: Contexts (2024) at Kupferstich-Kabinett Dresden. Until 2025, she was a professor at HEAD Genève, where she served as principal investigator of the SNSF-funded project “Decolonizing Socialism: Entangled Internationalism” (2019–2024). She maintains ongoing research collaborations in Switzerland and has given lectures in Ghana, Sweden, and Singapore in 2026. Mende is a co-founder of the Harun Farocki Institut in Berlin and the founding director of Stiftung Archiv Mende. Her publications include Navigation Beyond Vision (with Tom Holert, 2022), Stannaki Forum (2024), and the series Entangled Internationalisms (with vinit agarwal, Kwasi Ohene-Ayeh, among others, 2024). Her writing has appeared in e-flux Journal and in publications by Oxford University Press, MIT Press, Spector Books, Ibraaz Publishing, and others. Mende earned her Ph.D. from Goldsmiths, University of London

Antonia Rohwetter works as a dramaturg and lecturer in the fields of performance, dance, and film. She is currently a research associate in Jordan Troeller’s research project “The M/Other Project: Creativity, Procreation and Contemporary Art” at Leuphana University Lüneburg. There, she investigates the intersections of feminist filmmaking practices, political movements, and reproductive labour in West Berlin after 1968.

Kerstin Schankweiler is Professor of Visual Studies and Art History at TU Dresden. Her research focuses on the art history of the GDR, transculturality, and digital visual cultures. Since October 2026, she has co-led the new DFG-funded research project “Beyond the Borders of the GDR: Internationalism, Environment, and Transformation in Art” with Marie Meyerding of the University of Jena. She is the author of "Bildproteste" (Wagenbach, 2nd edition, 2023) and contributed an essay to the exhibition catalogue accompanying the retrospective "Annemirl Bauer. A Rupture in the World" currently on view at DAS MINSK Kunsthaus in Potsdam. Her book "Reise(un)freiheit. Kunst und Mobilität in der DDR" (Wagenbach, 2027) is due to be published in March. 

Heiko Straehler-Pohl (b. 1984 Kiel) has been part of the leadership team of Niedersorbische Kulturakademie since 2024, an advisor to the Landesverband Künstlernachlässe Brandenburg e.V. since 2026, and the director of Kunsthalle Lausitz since 2019. His work focuses on art, film, and media history from the 20th century to the present. 

Prof. Dr. Jordan Troeller is an art historian and Junior Professor of Contemporary Art History and Aesthetic Practices at Leuphana Universität Lüneburg. As a Freigeist Fellow of the Volkswagen Stiftung, she leads the research group “The M/Other Project: Creation, Procreation, and Contemporary Art.” She also co-leads the DFG-funded research project “Visualizing the Invisible: The Maternal Turn in Artistic and Curatorial Practices in Central Europe” with Charles University in Prague and the University of Warsaw. Her monograph Ruth Asawa and the Artist-Mother at Midcentury was published by The MIT Press in 2025 and received the 2026 Robert Motherwell Book Award. 

Henrike Voigtländer is a historian. She completed her doctoral dissertation on gender relations in GDR industry at the Leibniz Centre for Contemporary History Potsdam and the Hannah Arendt Institute for Research on Totalitarianism in Dresden. She currently heads the Keibelstraße Learning Centre, which is run by the non-profit organisation "Agentur für Bildung, Geschichte und Politik e. V."

Marie Winter studied art history at Philipps University Marburg. Since 2020, she has worked at the Kunstsammlungen Chemnitz, initially as a curatorial trainee and subsequently as a research associate. Since 2023, she has headed the Carlfriedrich Claus Archive. In addition to managing the artist’s estate, her work focuses on researching his artistic practice and networks, both in the GDR and in relation to artists working in visual and concrete poetry worldwide. Last year, she curated an exhibition on the alternative art scene in Karl-Marx-Stadt during the 1970s and 1980s, as well as an exhibition on Carlfriedrich Claus’s phonetic work and his engagement with language. She is currently overseeing the digitisation of the estate and preparing an exhibition on Carlfriedrich Claus scheduled for late 2027.