Thealit offers 5 four-week residencies for female artists or groups in the ‚Arbeitszimmer'. In between, there is space for two-day projects and presentations, the Intermissions.
The Art Residency #2 at Arbeitszimmer thealit on THE ART OF EMERGENCY starts on November 21 with Ariane Litmeyer's project "More traces might surface"—ongoing until December 16. That's what it's supposed to be about:
The emergence of long-forgotten artifacts is, along with dying fish and forest fires, probably one of the most obvious consequences of the drought caused by climate change. What was previously hidden unseen at the bottom of rivers or lakes is reappearing. Ariane Litmeyer writes: "In recent months in Texas, for example, 113-million-year-old dinosaur tracks have resurfaced, brought to light again by extreme weather conditions in a dried-up riverbed. At that time it was—according to present knowledge—an asteroid and its devastating consequences that ended the life of the dinosaurs after 150 million years. Also so-called 'Hungersteine', which are actually hidden in the river bed or on water bottoms, come to light in many places. These stones have been placed for several hundred years to mark the water levels—often they are marked with a year or even with inscriptions of warning: Emergency. The low-water engravings are bearers of history, reminders, heralds of doom, bad omens in many places. What the famine stones and the dinosaur bones have in common is that they are testimonies of historical catastrophes and part of a meteorological chronicle—and that quite obviously. But what do we do with the knowledge linked to these finds? We live in an illusion of continuity and reliability, even if scientific forecasts and social developments paint a clearly different picture. 'Climate, Crisis, Archaeology' was the title of a conference of the German Archaeological Institute this year. This arrangement, which still leaves out the wars and social upheavals of our time, shows that Emergency is bogged down in the arrangement. Crises are everyday occurrences. Through distraction, powerlessness, repression and the habit of emergency/state of emergency, we hardly notice the creeping apocalypse, because it does not affect us in everyday life—after all, it is not four horsemen who perform a one-day work, but a doom that stalks over decades."
excited to see what will emerge....
Ariane Litmeyer was born in Jever in 1988 and graduated her studies in design and fine art at Hochschule für Künste Bremen. In 2021 she completed her master's degree with Andree Korpys and Markus Löffler. Her works are conceptual and interdisciplinary. She works with diverse forms of media whereat the form follows the subject of a work and guides the artistic implementation. Political and social issues—such as the impact of established power structures on social contexts and subjects—are her main interests. They can be seen through all of her work.
Collective interactions are an essential part of her artistic work. Since 2016 Ariane Litmeyer is working together with the artist Anna-Lena Völker. The artist duo uses different materials and forms of media in their installations. They understand their practice as a focused exploration of contemporaneity. Thereby they draw on post-structural thinking in their analysis. This can also be seen in their artistic statement: “It is the interplay of weight and weightlessness, which we concern ourselves with—that out of every formed entity, a contradiction seems to develop, that the pattern of our actions reflects the pattern of a fly, which then reminds one of a wasp. In an apparent specious authenticity, which is ‘not the same’, ‘but quite’, we create waiting rooms and wait ourselves.” Ariane Litmeyer is also part of the artist collective ELAF. Since 2019 she is working together with Jan Charzinski on the history of the city Jever based on the biography of Fritz Levy.
COAPPARATION I, II, III
The zine "COAPPARATION, I, II, II" presents projects addressed to thealit or realized at thealit in the COAPPARATION program.