THE FEMALE ANSWER is a series of short residencies by female artists at NORDER147.


The idea for this format came up when, at the beginning of the corona crisis, the news circulated that countries gouverned by female leaders were way better of in many aspects... Concerning the number of infections, basic logistics, the treatment of the sick and the overall flow of information.


This statement was the impulse for asking female artits from different countries about their perspective on political and sociological questions and problems from the standpoint of their culture respectively reflecting on topics within their own country.




"Villain Origin Story"

Villö Geszler


21. - 23. September 2021


Am 15. Juni 2021 wurde in Ungarn ein Anti-LGBTQ-Gesetz verabschiedet, das noch nicht einmal das erste der diskriminierenden Gesetze war, die in den letzten anderthalb Jahren verabschiedet wurden.
Zu den früheren Beispielen gehört beispielsweise das Gesetz (genannt "Paragraph 33") vom Mai 2020, das vorschreibt, dass das in der Geburtsurkunde angegebene biologische Geschlecht mit dem im Personalausweis übereinstimmen muss und niemals geändert werden darf.
Darüber hinaus wurde Ende 2020 der Satz „Die Mutter ist eine Frau, der Vater ist ein Mann.“ in der Verfassung verankert.
Villö Geszler setzt sich mit verschiedenen Aspekten der leider aktuellen LGBTQ-Gesetzegebung Ungarns auseinander. Sie wird für die Künstlerinnen-Residenz in der NORDER147 eine Audioinstallation kreieren.


"Boxed In"

Kara Michelle


13. - 15. August 2021





"BOXED IN", Die amerikanische Künstlerin Kara Michelle setzt sich während ihrer Kurzresidenz mit der Tatsache auseinander, dass Frauen in den USA, besonders dann, wenn sie nicht vermögend und allein erziehend sind, wenig oder keine öffentliche Unterstützung erhalten.
Achtung, Respekt, Teilhabe in der Gesellschaft, Karriere... Alles das ist davon abhängig, dass Frauen sich anpassen, heiraten, in die konservativen Schubladen passen, sich fügen und möglichst wenig Platz und Aufmerksamkeit für sich einnehmen.
Bodypainting ist eine der Techniken, die es Kara Michelle ermöglichen, ihre Position, Kritik und Perspektive darzustellen. Ein spannender Prozess, der sich auch in anderen künstlerischen Ausdrucksformen über drei Tage erstrecken wird.
Fr + Sa 11 - 20 Uhr, So 11 - 18 Uhr



THE FEMALE ANSWER wird finanziell vom Bundesverband Soziokultur/ Projektbüro NEUSTART KULTUR e.V.

und dem Kultusministerium des Landes SH getragen. Support: KUENDA Productions/ Cindy Jänicke.




 The artist:

 "The distorted forms of females in the United States. 

 36 - 24 - 36…our worth is measured in inches, pounds and age.  The less “space” we take up the more we are valued.

 Trying to live up to the beauty standards shoved in our faces by a filter addicted media yet conditioned from a young age to become home makers and mothers. Lace thongs and push up bras in the store windows show us an expectation of sexiness, but if we show too much skin then we are in danger of being sexually harassed or raped…but we were asking for it anyway, right? “Why aren’t you married?” “When will you have children?” …common questions pressuring us to live up to a certain standard of what is expected of us as women.  Aspirations seem always out of reach in a male favoured society.  We have to work harder to be taken seriously and even then we get paid less.


Pregnant? Keep on workin, ‘honey’ or you’ll be out and quickly replaced.   What about the hospital bills….including the charge for skin on skin contact with your newborn? Costs of child care? Better to get an abortion, right?? Better get a man, right? Speaking out?  “Don’t be a bitch.”  Getting angry yet? “Aww…smile, sweetheart.” Trying to break free? “You’re crazy….here, take these pills.” We are pushed one way, then pushed another, reduced, manipulated and dismissed.



In this project I will be creating and presenting a series of body painting installations to showcase my interpretation of distorted female forms; the result of trying to fit into the impossible standards imposed onto women in the United States." 






Female Identity

Anna Möller


16. - 18. April 2021


Das künstlerische Projekt “Female Identity” beschäftigt sich mit sexueller Belästigung und Gewalterfahrungen von Frauen. Anlass sind unzählige Erlebnisse sowohl der Künstlerin selbst, als auch von Frauen aus ihrem direkten Umfeld, als bloße Objekte angesehen und behandelt zu werden.


Diese Erfahrungen werden in der künstlerischen Umsetzung durch „sexualisierte Materialien“ wie Nylonstrumpfhosen oder Latex symbolisiert, die für Haut stehen. Rote Elemente wie Satin, Seide, Nähte oder Fransen symbolisieren die durch übergriffige Handlungen entstehenden psychischen und physischen Verletzungen.


Die engen Silhouetten der Outfits verkörpern die Erwartungshaltung gegenüber Frauen,  in mehrfacher Hinsicht so wenig Raum wie möglich einzunehmen. Die unförmig-weiten, wie aufgeplatzten Formen anderer Modelle stehen für die überwältigende Macht, die sexuelle Belästigung und Gewalt auf ihre Opfer ausübt und dafür, wie diese Gewalterfahrungen weibliche Identität definiert, häufig auch übernimmt.


Mit dem Projekt “Female Identity” wird von Anna Möller ein Schlaglicht auf sexualisierte Gewalt gegen Frauen gerichtet und aufgezeigt, dass all das nicht nur nachts in „dunklen Gassen“ passiert, sondern dass diese Situationen für Frauen alltäglich sind, überall passieren können und passieren.



Female Rhapsody

Nejla Yilmazturk


19. - 21. Feb 2021


An outcry in the male-dominated art world. The current understanding of a rhapsody is not tied to any particular form of music, and so in my experimental process, which reminds me of a feminist laboratory, I will redefine the terms “Fight and Feminism” for myself. In various media such as painting, illustration and linocut, the injustice that I have encountered as a woman on this earth since the beginning of time is processed.


My life in Turkey, the travels through Europe and the current center of my life in Germany are important locations for me to gain knowledge about my "femininity". How do I design the free use of this "construction of femininity". My main questions are: Which female “idols” served as models? Why all these crimes against women in Turkey? Freedom & Femininity?

Sometimes a single picture is enough to shed new light on a topic. I will use my voice to scream. Let the “Female Rhapsody” begin!


Nejla Yilmazturk Fashion Designer, Artist, Illustrator




Syrena Fong

Hong Kong

04. - 06. Dec 2020




On the 23rd anniversary of Hong Kong’s handover to China, the National Security Law(NSL) was passed in response to the city’s largest democratic movement that has been on-going for the past year.

The national security law was passed with the intention to keep Hong Kong a ‘safe, lawful’ place and to protect the city from ‘rioters’ who display acts of ‘terrorism’.


The law criminalises acts of “succession, subversion, terrorism, collusion with foreign or external forces” and applies to permanent and non-permanent residents inside and outside of Hong Kong, with a maximum sentence of life in prison. Under this law, anything that could be interpreted as anti-government or pro-HK independence could be deemed as illegal.



While the terms of the law are worded rather vaguely and could simply be up to the authority’s interpretation of the day. One thing that is more certain than ever is that Hong Kong’s fight to maintain the reputation of the ‘freest city in China’ is getting harder and harder.



This project aims to explore the underlying effects of NSL and fluidity as a common theme that was displayed throughout the movement. What does it mean to live under a climate of suppression and surveillance? How does it affect citizens and non-citizens abroad who would be held accountable for their actions once they cross the border? How far are you allowed to express your criticisms towards the authorities? What role do you play in this?


                                                         Anxiety, self-censorship, surveillance, safety… Where do you draw the line?



Kirstine Skov Hansen


06. - 09. Nov 2020


My work centers on investigating social structures in a local/ global reality within conceptual and visual processing of current issues in society and cultural phenomenons.


I draw inspiration from anthropological methods to combine materiality and sociality. In my current project I investigate contemporary society’s complex relation to death and the accompanying grief in Western culture. The individualized society has turned death into a private matter and absent part in our everyday life (in contrary to an apparently increasing entertainment industry involving death).



My investigations take their point of departure in death and grief as cultural phenomenons inspired by death rituals and grief practicing from the classical antiquity. In the era of classical antiquity the funeral rituals were administrated by mourning women through lamentation and intense emotional performance during the process of managing the deceased’s last journey into the world of death. The mourning women symbolized both fertility and death representing the cycle of life; the birth-giving mother and the last parting. The mourning women managed the course of life in a way, which seem to be far away from today’s general fear of contact and absent discourse on death. The project aims to create ceremonial works and meta prints within print and sculptural installations. Inspired by the mourning women’s position as both womb and grave.


Material experiments dealing with a connection between dead and living materials in solid and liquid form, which will make the works both static and active. The mourning women’s bodily and collective volume, fragility and black appearance, are incorporated in a shape of poetic visuals, sensible technics and tactile surfaces built on composition, words and expressions that aim to embody the complexity of death. Black is the main color referring to grief, death and darkness. The notion of darkness as the universal element from where all life comes from. The works intend to create space for interaction and accommodate the spectator’s own experience-based ontology being point of departure for own notions and experiences with death and grief. The project is linked to necro-aesthetics applied as a staged interaction that seek to create a more bodily and tactile experience for the spectator of otherwise distanced political and ethical conflicts.


Kirstine Skov Hansen +45 60641777




Flowers for Evil
Marta Shoiman
16. - 18. Oct 2020
Current events in Belarus were not represented in the Western news as something worth particular attention.
On the scale of political impoliteness this indifference should be considered as “outraging”. Not only because what is going on there is a historical gem of a birth of a nation with cultural, linguistic vexillological changes, unimaginable for a modern west European citizen.
The crucial importance of the ongoing demonstrations is that it is incomparable to anything we knew or saw for the last couple of decades. The peculiar beauty of the protests, and weird, almost “vegetarian” behaviour of protesters gradually undermine the conventional double-sided violence of revolutions. This project however is dedicated to that one special side of the Belarusian protests, which has gotten me speechless since the first moment i saw it - the participation of women.
The peaceful alienation of these events is decorated with flowers, carried by women of all ages and occupations. Self-coordinated and stubborn columns of women outgrew the dissatisfaction with the government and took a form of pure sisterhood solidarity and mutual assistance.
We all share the evident hatred towards police and militaries , who are abusing the power. Most of us, however, have never experienced physical violence from a hand of a policeman. Bruised faces, broken ribs and threats from people who eat their lunches from our taxes - all of this is not about our lives. Instead of burning tires and throwing Molotov’s at the parliament, Belarusian protesters...turn the other cheek over and over again.
Current experience of solidarity, and belonging to the community allowed different people to cooperate together. I want to pay my tribute to the brave women who do not spot holding hands, protecting each other from police cruelty and fight for the white-red-white future free from dictatorship and centralization.
This project is aimed as a gesture of support for all the protesters in Belarus, who are fighting already for two months. The peaceful dignity and stubborn rejection of violent actions makes this event one of a kind.