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Konstanze Spät

Konstanze Spät is an artist, photographer, and filmmaker. She develops spaces, situations, and scenarios in which to deal with themes from the contexts of body and power politics. This usually occurs in the form of complex, sensual, three-dimensional installations, which lure viewers out of their distanced roles and turn them into an active part of an ephemeral biotope.

Besides her artistic work, she also works on various collective curatorial projects, such as The City and the City (Cologne, 2017), ZEFAK (Bremen, 2018) All of a Jitter (Tokyo, upcoming).

In the project Scenes of Oszillation  she examines different restrictive and subversive possibilities offered by migration and integration.



Check out the calender here.

In the cause of silence, each of us draws the face of her own fear –
fear of contempt, of censure, or some judgement, or recognition,
of challenge, of annihilation.
But of all, i think, we fear the visibility without which we cannot truly live.

Audre Lorde: Scratching the Surface – Some Notes on Barriers to Women and Loving, Sister Outsider, Crossing Press, 1984

Latin_ to swing, to rock back and forth, to vacillate

A state of constant balance.

Photo_ Konstanze Spät


How are experiences of migration, wandering, persecution, and deportation inscribed in our bodies? And how are they passed down to the next generation, which has been protected from these experiences?
At what points can we sense them and rescue them from their invisibility?


As the offspring of so called “Spätaussiedler” (ethic German resettlers), as a white person with “migrantion background”, as a migrant child, I am the product of my parents’ and grandparents’ efforts to integrate. An image of colonial and hegemonial identity models.
I do not have an accent when I speak German and, as expected, I followed a classic academic path. Neither my ID card nor my birth certificate make any reference to different ancestry. Even my physical appearance would not disturb even the dumbest of Nazi’s mad Aryan fantasies.

We integrate quietly, fueled by shame and fear. Sometimes via particular decisions, sometimes unwittingly.
During the process of integration, dependent relationships are created: if you don’t try to be the way I am, you’re out. You’re not allowed to play with us. It is out of the question to work it out mutually, together. Can integration be interpreted as the opposite of cooperation?


Scenes of Oscillation is a sound piece, exploring the experiences as well as the legacy of migration and integration through sound and story telling.

These things are (re)constructed, critically examined, and reworked acoustically and through language.

In the workroom at thealit there will be more research and experimentation.
Speaking, telling, reciting and listening with and to the stories are supposed to help them come alive, to expand and explode history at the same time, so that a more pluralistic canon can be created.

Stay tuned on the usual channels. (like fkl_thealit)