Produktion. Made in Germany Drei

© Lien Camacho

The third edition of Made in Germany focuses on the conditions of producing art in Germany and the question of how geographical, political, and institutional structures as well as new technologies create important conditions for the production of art. By concentrating on current production conditions, it inquires into the extent to which artistic production is redefining itself.

The postdigital generation has grown up in the five years since the last exhibition; new networks, apps, and DIY instructions have permeated art. In an art landscape that by international standards continues to have a unique density of institutions (art academies and art colleges, art associations and museums), the German scene is also the production site of this most recent art.

The exhibition and the participating artists focus on three key aspects: firstly, space in the sense of production site, location, and environment; secondly, time in the sense of working process, narrative, and speed; thirdly, production structure in the sense of cooperation and network.

Ephemeral art forms and space-related installations are booming, and artists are creating blogs, off spaces, and open spaces for all kinds of activities. Further aspects of creation that has accelerated multiple times are the expansion of their global mobility, their membership in various artists’ groups, as well as their participation in a demanding art market.

Coming soon - View behind the scenes in 360°:

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These developments pose virulent questions:
What role does making the context of its creation visible play in contemporary art production?
To what extent have the geographical coordinates of production become differentiated within the scope of digital communication and virtual networking?
How does the collaborative process within Germany as a production site manifest itself?
In what way does the examination of the specific exhibition venue take place?
When does the exhibition venue become a production site?

By inviting artists’ groups and individual artists who reflect in particular on the production of their art, whether site- or media-specific, the exhibition in 2017 at the three institutions shows visitors the contemporary situation of art in Germany based on selected positions.

The increasing “dissolution of boundaries” in the visual arts moreover prompted the Kestner Gesellschaft, the Kunstverein Hannover, and the Sprengel Museum Hannover to seek additional cultural partners in Hannover. This year’s participating institutions include the Schauspiel Hannover, the Festival Theaterformen, and the KunstFestSpiele Herrenhausen, supplementing the question of production and location with additional multidisciplinary projects and highlighting the changing production conditions of theater and performance.