Since 1981, he has been developing the ongoing project series Public Interventions in Public Space. Hasucha held a visiting professorship in Aesthetics in Theory and Practice in the Department of Architecture at the University of Kassel, as well as a visiting professorship in Art in Public Space and New Artistic Strategies in the Department of Design at Bauhaus University Weimar. In addition, he initiated, among other projects, the Areale Neukölln in Berlin (funded by the Capital City Cultural Fund) and undertook multi-year work and research trips throughout Europe and Asia Minor. 

Hasucha has received numerous fellowships, competition awards, and art-in-public-spaces commissions, including first-place finishes in competitions for Nöldnerplatz in Berlin and Carthausplatz in Frankfurt (Oder), as well as grants from the Kunstfonds e.V., VG Bild-Kunst, and a DAAD fellowship for an academic year in London. Over the past five years, he has held solo exhibitions at locations including the University of Siegen, in public spaces in Heilbronn and Brühl, as well as in Bochum and Ditzingen. He has also participated in group exhibitions at venues including brandung e.V. in Jamlitz, oqbo – Raum für Bild Wort Ton in Berlin, and at the Edwin Scharff Museum in Neu-Ulm. 

Work Title: m i t t l e r w e i l e

Christian Hasucha’s work m i t t l e r w e i l e (german for "meanwhile") is projected onto the approximately 50-meter-long facade of a vacant former residential and commercial building at Zillesstrasse 1 in the Lauchhammer Neustadt neighborhood. The existing building structure is marked by signs of decay and makeshift security measures, such as bricked-up windows on the ground floor and openings on the upper floors that have been boarded up with wooden panels. Hasucha takes up this visual patchwork and expands upon it by installing twelve additional wooden panels over selected windows on the first floor. Super-sized, fragmented letters appear on these panels, which together form the word “mittlerweile.” Due to their distribution and fragmentation, they elude immediate legibility and only unfold in interaction with the architecture. The term “mittlerweile” acts like a semantic trail that drapes over the facade, thus becoming a perceptual comet that intertwines the present and the past. The lettering evokes both the building’s current state and the memories of many residents of gradual, long-past processes of transformation.

At night, the letters are individually illuminated for the duration of the exhibition. The panels themselves will then remain in place for an extended period, serving as a title for the present moment.