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re:visions

@revisions.journal

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student and early-career journal for art and visual culture
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Unsere erste Review aus unserer Rubrik „Rolling Publications“ ist jetzt online! In ihrer Besprechung der Manifesta 16 Ruhr @manifestabiennial untersuchen Zoe Büchtemann und Franziska Blume, wie die Biennale die industrielle Vergangenheit und postindustrielle Gegenwart der Region anhand der Nutzung von Nachkriegskirchen aufgreift. Ausgehend vom kuratorischen Konzept des Trümmerziegels fragen sie, wie künstlerische Interventionen die materiellen und emotionalen Geschichten dieser Räume verhandeln und zugleich Möglichkeiten für neue Formen der Begegnung und des gemeinschaftlichen Lebens eröffnen. Franziska Blume (*1998) studierte Kunstgeschichte, Kulturwissenschaft und Material Culture Studies in Berlin und New York und ist wissenschaftliche Volontärin an den Staatlichen Kunstsammlungen Dresden. Sie interessiert sich für vielfältige gesellschaftliche und konzeptuelle Aspekte des Materiellen in der Kunst; darunter die Auseinandersetzung mit dem Bildträger seit der Moderne sowie die Präsenz alltäglicher Objekte und Materialien in der Gegenwartskunst. Als studentische Mitarbeiterin am Lehrstuhl für die Kunstgeschichte der Moderne (HU Berlin), dem Forschungskolleg inherit und als Teil der Kleinen Humboldt Galerie war sie an diversen wissenschaftlichen und kuratorischen Projekten beteiligt. Zoe Büchtemann (*1997) studierte Kunstgeschichte an der Freien Universität Berlin sowie Rechtswissenschaft an der Universität Potsdam und der Goethe-Universität Frankfurt am Main. Derzeit absolviert sie den Masterstudiengang Kunstgeschichte im globalen Kontext an der Freien Universität Berlin. Zuletzt war sie als Kuratorische Assistenz bei der LAS Art Foundation tätig, wo sie an verschiedenen Ausstellungsprojekten mitwirkte. Ihre Forschungsinteressen umfassen politische Ästhetik, Performancekunst sowie die gesellschaftlichen und politischen Dimensionen von Materialität in der Kunst. Lest die vollständige Rezension über den Link in unserer Bio! • Bild 1: Elizabeth Price, WHERE ARE YOU WHERE ARE YOU, 2026.© Elizabeth Price. Foto © Manifesta 16 Ruhr / Ivan Erofeev Bild 2: Mira M. Yang, Darkling I listen, 2026. © Mira M. Yang. Foto © Manifesta 16 Ruhr / Ivan Erofeev. by @revisions.journal
THROWBACK: ISSUE #6DO (NOT) DISTURB In her in her essay Sleeping Beauty, Claire Rüffer @clairerfr interrogates the changing visual narratives of sleep, tracing how it has shifted from a space outside visibility and discipline into a capitalist site of self-optimisation, echoing Rosalind Gill’s concept of postfeminist media culture. Rüffer draws a comparison between the motifs of Renaissance sleeping Venuses — where beauty resides in passivity and visual availability — Disney’s Sleeping Beauty, in which sleep functions as a means of preserving beauty, and the so-called “morning shed” routine on social media, where beauty can only be achieved through discipline and the consumption of products during the hours meant for rest. Claire Rüffer @clairerfr is a Master’s student in Art and Museum Studies at TU Berlin, having worked in publication practices at Haus der Kulturen der Welt and formerly as an art guide at Haus am Waldsee. Rooted in art history and cultural studies, her research and writing navigate historical image culture, digital aesthetics, and pop academia through a feminist and anti-capitalist lens. For her, Erwin Panofsky, Walter Benjamin, and the Kardashian-Jenners are part of the same cultural conversation. Read her full essay via our link in bio! • Image 1: Drawing by author inspired by videos by TikTok-creators @.m.egan, July 6, 2025, 372k views as of February 13, 2026; @manelparletrop, September 26, 2025, 50.8 million views as of February 13, 2026; @011wu, February 23, 2025, 150.7k views as of February 13, 2026; @eringetty7, September 12, 2024, 185.6k views as of February 13, 2026 Image 2: Claire Rüffer by @revisions.journal
THROWBACK : ISSUE #6 DO (NOT) DISTURB In their experimental essay “Night Shift: Institutional Dreams”, curator Yasya Minenkova @jaroszlawska and artist Yanis Proshkinas @proshkinas_ enter into dialogue exploring the concept of “oneiric curating.” Through an interplay of dream memories, associations, and cultural references, dreams are approached as spaces of unrestricted and unmediated creativity, but also as sites where labour continues into states of rest and where institutional regimes can be reimagined. Drawing on Giorgio Agamben’s concept of inoperativity — an activity existing for its own sake — the authors position oneiric curating as a methodological reorientation. In this framework, curatorial thinking persists without the obligation to be productive or generate measurable outcomes. Yasya Minenkova @jaroszlawska is a сulture researcher, curator, and art critic. In her practice, she explores how contemporary art engages with institutional regimes of visibility and forms of alienation. Member of the artist collective AIRE. Based in Vilnius. Yanis Proshkinas @proshkinas_ is an interdisciplinary artist, researcher, and producer working across various media, including video, installation, performance, and game formats. His work explores themes of productivity, work culture, and self-exploitation. Based in Vilnius. Read their full essay via our link in bio! • Image 1: Sketched dreams in Yasya’s diary. Dream no. 1 and Dream no. 2. Image 2: Yasya Minenkova by Monika Dubinkaitė Image 3: Yanis Proshkinas by Artūras Raila by @revisions.journal
THROWBACK: ISSUE #6 DO (NOT) DISTURB In her essay « Geiseln der Schlaflosigkeit », Viktoria Rochambeau @viktoriarochambeau — herself an exhausted curatorial assistant in the thick of an exhibition installation — examines the political and social conditions of sleep in the 21st century. Drawing on two artistic works — Yto Barrada’s @ytobarrada photographic series Dormeurs and Navild Acosta @goodbyegender and Shadow Fannie Sosa’s @shadowsomatics performance Black Power Naps @black.power.naps — Rochambeau investigates the act of sleep as a political matter, moving beyond the pictorial tradition of the blissfully resting, languidly sprawling body. • Viktoria Rochambeau @viktoriarochambeau explores curatorial and cultural-theoretical issues. She studied Expanded Museum Studies at the University of Applied Arts in Vienna and Empirical Cultural Studies & Aesthetics at the University of Vienna and the University of Ljubljana. Following various roles in exhibition curation and production at Kunstraum Kreuzberg/Bethanien, the Galerie im Turm, TUR_telpa and the Gropius Bau, she is currently working as a curatorial trainee at the Haus der Photographie at the Deichtorhallen in Hamburg. Read her full essay via our link in bio! • Image: Fannie Sosa, Navild Acosta, Black Power Naps, Performance Space New York, 2019 © courtesy the artists, Photo: Da Ping Luo. Installationsansicht. Portrait: Viktoria Rochambeau © Deichtorhallen Hamburg, Foto: Jewgeni Roppel. by @revisions.journal
THROWBACK: ISSUE #6 DO (NOT) DISTURB In their essay « Work-Art-Balance: On the Labour of Attention, Subversion, and Neoliberal Subject Production in Pilvi Takala’s The Trainee (2008) », @bask4t examines how Pilvi Takala’s performance reveals the often invisible rules that structure contemporary work in post-Fordist capitalism. By engaging only in « brain work » that avoids sociable behaviour and material visibility — such as typing or displaying busyness — Takala disrupts workplace conventions. Drawing on theories of immaterial labour and neoliberal subject formation, Ripea foregrounds attention itself as a regulated form of labour, while reflecting on the entanglement of artistic critique with capitalist production. • Kat Ripea @bask4t is an art historian, writer, and critic specializing in contemporary art and culture. Grounded in Neo-Marxist tradition and queer sensibilities, their work is particularly interested in radical potentialities and cultures of critique. Previous curation for Kleine Humboldt Galerie, writing and editing for K. Verlag, taz, PASSE-AVANT, FLORETS Magazine. Kat is currently a graduate student of Art and Visual History at Humboldt-Universität zu Berlin, where they also work for the Chair of Art and New Media. Read their full essay via our link in bio! • Image: Pilvi Takala, The Trainee, 2008. Image © Pilvi Takala 2026. Courtesy the artist; Carlos/Ishikawa, London; and Stigter Van Doesburg, Amsterdam. by @revisions.journal
THROWNACK: ISSUE #6 DO (NOT) DISTURB One year before the 2027 Documenta takes place in Kassel, Maria Neff @neffmaria revisits the previous edition from 2022 to examine the artistic programme Chilltan, initiated by artist Saodat Ismailova and the group DAVRA. Neff observes how the different performances and artworks of the Chilltan programme evoke multiple modes of relationality by drawing on customs, rituals, and myths from Central Asia. The essay examines how these acts continuously constitute ways of living that oppose dominant regimes of productivity and acceleration. • Maria Neff @neffmaria is currently pursuing an M.A. in the History of Art at Humboldt-Universität zu Berlin. She previously completed a B.A. in Art and Visual History and Philosophy at the same university, and studied Philosophy of Aesthetics and History of Art at the University of Edinburgh. Her research explores how contemporary art in Central Asia navigates the conditions of postcoloniality, and how performative and decolonial gestures give rise to new epistemic frameworks and modes of artistic production. Read her full essay via our link in bio! • Image: Saodat Ismailova, Chilltan #2, documenta fifteen, Kassel, 2022. Installation view. Photo by Nicolas Wefers. © Saodat Ismailova. Courtesy of the artist. by @revisions.journal
THROWBACK: ISSUE #6 DO (NOT) DISTURB In his essay “Das Erhabene der Leere: Abstraktion als Aufmerksamkeitsexperiment”, Gerrit Kindler explores the possibilities of finding enclaves of rest and resistance in the self-reflexive practice of sensory recalibration and reorientation. Departing from Kant’s definition of the sublime and taking a neuroscientific lens, he offers a contemplative reading of Mark Rothko, Barnett Newman, and Delcy Morelos, focusing on the relationship between the eyes, the mind, and our constant search for meaning. • Gerrit Kindler is currently completing his studies in Fine Arts at the Berlin University of the Arts. He is an assistant to Barbara Wittmann at the university’s Institute for Art History, Art Theory and Aesthetics. In his artistic practice he explores the emotional intensity and overwhelming affects of theatrical experience through painting. Read his full essay via our link in bio! • Image: Delcy Morelos, Madre, 2025, Erde, Ton, Wasser, Holz, Metall, Jute, Heu, Stroh, Zimt, Nelken, Buchweizen, Chia-Samen, Tabak, Honig, Maße variabel, Hamburger Bahnhof, Berlin, Ausstellungsansicht mit Betrachter. Foto: Gerrit Kindler. Mit freundlicher Genehmigung der Künstlerin und Marian Goodman Gallery. by @revisions.journal
THROWBACK: ISSUE #6 DO (NOT) DISTURB In her essay “Lazy! Leisure, Automation and Attention in the Work of Guido Segni”, Sara Molho @sara_molho examines questions of authorship, spectatorship, and the conditions of digital labour, focusing on the five-year project Demand Full Laziness (2018–2023), which aimed to delegate the production of artworks to AI. Situating Segni’s practice in Italian hacktivism and net art, Molho traces its trajectory from accelerationist optimism and the figure of a post-work artist to disengagement with technology and self-sabotage. She ultimately argues that automation still requires the artist’s or worker’s agency and productivity, while the desired rest gives way to “digital fatigue” — a new form of exhaustion. • Sara Molho @sara_molho is a researcher in contemporary art history specialising in Italian countercultures, media art, and artistic networks from the 1970s to the early 2000s. Her work investigates the intersections between technology, participation, and collective artistic practices. She holds a Ph.D. in Visual, Performing and Media Arts from the University of Bologna and in 2024 she was the recipient of a Getty Library Grant. Read her full essay via our link in bio! • Image 1: Guido Segni, Semantic Segmentation Dataset, images No. 00021 and No. 02599, 2018. Courtesy the artist. Image 2: Sara Molho. Fondazione Giannino Bassetti during “Arti e politica a Milano negli anni ’70: casi di studio”, Fondazione Corrente, Milan, 2025. #revisionsjournal #do(not)disturb #attentioneconomy by @revisions.journal
Call for Papers: Spielraum For our seventh issue “Spielraum”, re:visions invites graduate students and early career scholars, researchers, writers, and artists to reflect on play and games as spaces for inquiry, involvement, and friction as they stage relations, test participation, and reshape spectatorship and sensibility—while moving between freedom and capture, pleasure and constraint, world-making and control. We welcome proposals engaging with a wide range of arts and media, especially those concerned with translation and transculturation: with the ways in which artists and game designers have drawn from local cosmologies, colonial histories, activist practices, and regional knowledges, and with how games become media of protest, memory work, and representational sovereignty. Please submit an elaborated proposal for an essay, interview, or artist portrait of approximately 500 words, an image and a bibliography written in either English or German. The submitted proposals will be evaluated by our editorial team in a double-blind peer review. Contributors will be invited to write a 3,000- to 5,000-word paper if their proposals are selected. Contributions will appear in the seventh issue of re:visions, which is slated for publication in May 2027. We particularly encourage members of marginalised communities underrepresented in academic writing (including queer individuals and BIPoC) to submit contributions. The deadline for submissions is 30 September 2026. Please email your proposal and a short bio as a Word document to revisionsjournal.fu@gmail.com #arthistory #games #play #spiel by @revisions.journal
Night Shift: Institutional Dreams is now published in re:visions. A dialogical essay on sleep, institutional labour, unrealised exhibitions, and dreaming as a curatorial method. Co-written with @jaroszlawska Thank you to the team of @revisions.journal Special thanks to Zoe and Malin. by @revisions.journal
Want to share your thoughts on a recent exhibition, performance, film, or art-related publication? We invite students and early-career researchers to submit review proposals on a rolling basis. Authors interested in contributing are invited to submit a proposal (max. 1 page) along with a short CV by email as a Word file to revisionsjournal.fu@gmail.com. Proposals selected by the editorial board will be invited to develop their review into a text of 1,500–2,500 words. We particularly encourage members of marginalized communities underrepresented in academic writing (including queer individuals and BIPoC) to submit contributions. Re:visions is an open access online journal for art and visual culture of the 20th and 21st centuries founded by students at the Art Historical Institute of the Free University of Berlin. We publish texts written in English and German. by @revisions.journal
tbt to last Thursday at Studio Hannibal, where we celebrated the launch of Re:visions #6 🌟 We spent the evening first engaging in a roundtable discussion on rest, exhaustion and attention, before continuing the conversations over drinks. Thank you to everyone who came and made the night so special. And to @studio_hanniball for hosting us 🥰 Stay tuned for what’s to come! And in the meantime, take a look at the essays published on our website. Photos by Alessandra Fochesato @fokesato . by @revisions.journal

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