The former functional rooms have been transformed into studios and exhibition spaces, and the dance hall has become a venue for performance and gathering. Here, painting meets sculpture, readings meet film, and theater meets installation art.

Artistic Positions

Cihangir Gümüstürkman transforms the large meadow behind the barn into a walk-through labyrinth whose paths offer no clear exit.

Victoria Gentsch's briquette sofa, “Coal Conversation Pit,” becomes a place for encounters and exchange, while Simono fills the other half of the barn with light and drumbeats, creating an atmospheric alternative world.

In the former dance hall, Inna Artemova uses her paintings to unveil visions and utopias of a future life in Lusatia. Katrin Günther contrasts these with large-format drawings in which transformation becomes visible as a swirling of formerly fixed structures.

On stage, a video work by Johanna Reich is on display. With her back to the audience, she stands in a vast, still-empty sandy landscape and—in the image of a cleansed, reorganized world—lets a golden flag flutter in the wind.

In the gallery spaces, the history of the place is explored in multifaceted ways and translated into contemporary visual languages.

Siegfried Kober uses wire to recreate animals that were once part of everyday life on the farm. His delicate sculptures appear like fragile memories that permeate the space, lending it a quiet, almost fleeting vitality.

In parallel, Sabine Schäfer presents photographs of trees, altered with intense shades of magenta, turquoise, and yellow and printed on Aludibond panels. QR codes on the works allow viewers to access sound compositions by the artist, in which the buzzing of bees and beetles opens up an acoustic dimension and expands the visual experience.

In the former bar area—the second gallery space—Detlef Schweiger has installed his work “spectra_ flexum.” Thousands of used CDs come together to form a space-filling structure of reflection and light, while the content stored on the discs remains invisible and inaccessible.

In the former horse stable, Luci Kork presents two video installations that poetically explore the history of silkworm farming in the region—a past to which the remaining mulberry trees still bear witness today. In one work, she undertakes the delicate yet futile attempt to teach a silkworm to fly. The gesture oscillates between care, absurdity, and quiet resistance against natural limits. Her second video work features the artist herself: rolled up in a seemingly endless cloth, she pupates like a silkworm. This gives rise to images of cycles and transitions in which the search for historical traces and personal, physical experience intertwine.

A film contribution comes from Luka Lětko and Mira Dubian. It was awarded the Young Talent Prize by the Foundation for the Sorbian People at the 33rd Cottbus Film Festival. This Lower Sorbian coming-out film tells the story of a village, a summer, and a friendship—and of all the questions that accompany growing up: Do we fit in here? Should we leave or stay? And what does it mean to be caught between cultural roots and personal self-discovery?