Hans Kalliwoda

intervention artist, conceptual, experimental,

curator, thinker, doer

Art interventions in public spaces, in a philosophical, ecological and sustainability context

‘In business life they are called product-champions. People who are appointed to get something difficult done in a large cooperation, and they go all the way to get it right. I like his attitude and the project (World in a Shell) is technologically very interesting, also for me’.

Ir Theo Wolters, Director Fabrique Invent, Delft

‘With his intervention, Hans helped a lot to create a Delft University for Technology, where we have now projects through different faculties, where not science is the only thing that counts or research output, or education, but where working together between faculties for society is the main goal. …Thank you very much for what you did for Delft’.

Prof. Dr. Ir Han Brezet, Head of Sustainability Department Delft University for Technology

(excerpt of speech at the symposium at V2, April 2010)

“Good art inspires, brilliant art brings about changes”.

Symposium on the symbiosis of art, architecture, science and sustainability

V2 (Institute for Unstable Media, Rotterdam), 2010

with Ute Meta-Bauer (curator MIT), Han Brezet (Sustainability Prof. TUDelft), Rob Zwijenberg (Prof. Art & Science University Leiden)

Ute Meta-Bauer: ‘I recommend (the TUDelft) giving Hans Kalliwoda an honorary degree, … I mean that seriously, to respect and also to recognize stimulating inspirations, that very often comes from not exactly the fields where we expect them to come from’.

Symposium The Polliniferous Project
‘Project Anywhere’

Parsons Fine Art N.Y. N.Y., 2014

Presentation on the correlation between ecology and social cohesion for human sustainability as part of my doctoral thesis and research through artistic practice at the University of Leiden, The Netherlands.

Lectures on the subject of swarm intelligence for inspiration

World in a Shell – Polliniferous Project 2016

Series of 10 lectures on swarm intelligence to inspire top executives from the Dutch Ministry of Infrastructure and Environment.

Interventionsprojekt „The future pollination Lab“ at „Europe by People“

Current

 

Research through artistic practice and artistic intervention as trigger for societal change.

For a considerable span of time, pollination has served as both the literal and metaphorical foundation of my artistic interventions. This thematic journey commenced with the exploration of the term ‘polliniferous’ and subsequently extended to encompass ‘polliniferous activities,’ a biological concept denoting the collection and conveyance of pollen. The utilization of ‘polliniferous’ is twofold: it finds application within the context of plant pollination by pollinators, and concurrently serves as a metaphor for the artist as a catalyst for change through intellectual cross-pollination and the lateral transfer of cultural elements.

My interventions manifest in the form of meticulously orchestrated events conducted within public or semi-public spaces. These events assume multifaceted structures and possess intricate layers, both during the planning phase and their actual execution. To navigate these intricate layers and complexities, I establish an artistic foundation comprising seasoned professionals, advisors, advocates and volunteers, thereby furnishing me with the requisite framework for adeptly managing these endeavors.

Art in public space; the social sculpture as methodology

The BeeTotem project is an interdisciplinary method to transform the City into a temporary nature reserve by combining sociological, ecological and educational elements through performative acts, sculptures and scientific research.

Employing an effective strategy to stimulate community-driven engagements within urban environments, specific BeeTotems are designated for various indigenous bee species. By forming distinct ‘BeeClans’ within neighbourhoods, all residents residing on the same street or in close proximity can engage actively. They play a pivotal role in creating a welcoming environment for a particular species within the broader RefuBee population. This collaborative effort ensures the flourishing of these vital pollinators in urban settings.

The academic and scientific research components of the ‘BeeTotems for RefuBees’ project are focused on the social-ecologial contexts. The social components are measured on engagements of the individual and as a group situation, while the ecological is analysed by quantitative measurement of a specific bee sort. Each installation is treated as individual case studies.

Commencing as a multidisciplinary endeavour at the intersection of art and science, this project possesses deep conceptual and experimental dimensions. Beyond its initial scope, it goes further to generate social cohesion, cultivate knowledge, and promote comprehension of natural phenomena. Through direct physical involvement in the natural environment, it helps to advance a spiritual and cultural metamorphosis.

Totemism and its associated rituals derive from pagan traditions. Depending on cultural en environmental circumstances, manifestations have been changing and developed over millennia. However, the intentional method stayed constant: people engagements in the totem to generate and advance social cohesion.

Totemism; an academic, project-based research

Over the last decades and with my artistic interventions in public and semi-public space, I have inspired, educated and engaged many people within sustainability and ecology issues. Obviously, these attributes are reflected in BeeTotem for RefuBees, which combines ecological thinking with social and environmental justice principles. Within this intrinsic framework of values, I re-invented and custom-tailored the concept of totemism, which fascinates me as a phenomenon for some time already.

We don’t know exactly how long it has been since the first totem was created, maybe even at the time when people were drawing on walls in caves. But certainly, before religions were invented and people were still so-called ‘pagans’. The spirituality and beliefs of these pagans were mostly shaped by natural phenomena and that they are part of the natural environment. This can still be seen today in the example of indigenous peoples. The religions have sold us that we humans are above nature.

We all know totems from the North-American indigenous people, famous for their ‘Totem-pole’ and possible the ‘Maibaum’, found in North and Central Europe predominantly in parts of Germany, especially in Bavaria and Austria. However, these are only small examples, because if one searches on this topic in other parts of the world and in other cultural settings, one will find many different forms of expressions. One will be amazed to what great variety of totems humans have developed the original concept over millennia.

I am convinced that all of these manifestations of totems are not static, but rather go through developmental processes – just like my BeeTotems. All totems have one thing in common, they are objects in public space for people to gather and create social cohesion. Totemism as methodology has great potentials in the context of interventions and I see the need for me to develop it further, including its applications in society. In alliance with 3D upcycling processes suits my artistic practice entirety.

Foto: Ernst van Deursen

A local approach to a global problem

In recent times, our societal fabric has witnessed a gradual transformation into one where hyper-individualism and a sense of isolation prevail, resulting in a marked decline in social cohesion. This change is concerning, particularly when considering our collective relationship with the natural environment. This decline is exacerbated when coupled with avarice, selfishness, and a lack of empathy.

The consequences of these shifts have become evident on a global scale, with crises and environmental degradation affecting every corner of the world. These circumstances lead to a dissonance, as many still hold the belief that individuals are inherently good at heart. The complexity of these issues might render it perplexing to discern where to initiate transformative change. This led me to contemplate change on a personal level, right at my own doorstep.

I came to recognize that the foundation of a sustainable ecology is a robust social cohesion. This realization echoed the words of Buckminster Fuller, on his perception of how to achiev this.

‘If you want to change how someone thinks, give it up; you cannot change how another thinks. Give them a tool, the use of which will lead them to think differently.’

In a moment of revelation, I conceived the idea that totemism, coupled with simple actions fostering a collective sense of purpose and shared direction, could facilitate meaningful change. This approach could enable us to reconnect with our spiritual selves, reestablishing our link with the natural world, encompassing all its insects and plants. This connection, which we seem to have forgotten over the last three millennia, underscores our role as a small part of a much grander tapestry. It underscores the reality that we cannot endure in isolation but must thrive together.

‘The art must be settling there, where the defect is.’
(Bertolt Brecht)

It may be somewhat astonishing, yet firmly substantiated by scientific evidence, that urban centers provide a more conducive environment for the flourishing of bees compared to rural areas. This peculiar phenomenon primarily stems from the adverse effects of pesticide contamination of water sources, monoculture practices, and the depletion of nesting habitats in rural settings. Consequently, the bee, once a common inhabitant of these rural landscapes, has been compelled to seek refuge in urban environments, transforming into a ‘RefuBee.’ This transformation underscores the urgent need to establish sustainable conditions that can avert the imminent risk of bee extinction.

Fotos: Rodolfo Vejar

BIO

Hans Kalliwoda

Since the 1980s, Hans Kalliwoda has dedicated his artistic endeavors to the incorporation of spectators into his works, installations, and interventions. One can characterizes his work as pioneering, avant-garde, and meta-modern, positioning it at the vanguard of contemporary artistic expression. His conceptual creations have garnered recognition through exhibitions in numerous international galleries, museums, and public spaces.

Kalliwoda’s interventions in public and semi-public domains have revolved around themes of identity, sustainability, and ecology. These projects have consistently exhibited an experimental nature, an enduring presence, and an interdisciplinary approach marked by a level of complexity that aptly satisfies his unwavering pioneering spirit. The culmination of these endeavours attests to his exceptional expertise and his adeptness at forging synergies across domains that transcend conventional boundaries. Operating within the framework of autonomy and mobility, Kalliwoda often willingly serves as the principal test subject for his own experimental works.

Kalliwoda conceptualised and led the Europartrain, a 5-year project that traveled across Europe, exhibited in 23 train stations, attracting 100,000+ visitors. Thanks to his amazing team he also published six books and a documentary film available in art center libraries like Tate London and Stedelijk Museum Amsterdam. The train dynamically collected carriages from each European country, fostering cultural interaction. Festivals, exhibitions, and manifestations were organised in each city it visited. Visitors could traverse the entire continent by walking through the train carriages without the train moving.

In his capacity as co-founder and director of the not-for-profit Blindpainters Foundation, Kalliwoda has championed a holistic vision of sustainable artistic practice for almost 30 years. Through this foundation, he has successfully demonstrated an alternative paradigm to the conventional art business, creating independent projects that explore the intersections of art, science, and activism.

Kalliwoda’s ambitious project, the Future Pollination Lab (also known as World in a Shell), represents a continuation of his longstanding tradition of exploration and exchange. This intervention project injected new paradigms and programs into the Delft University of Technology from 2000 to 2005, exemplifying how his enthusiasm for cross-cultural exchange fosters active participation.

Between 2013 and 2017, he worked as a PhDc. Art Researcher (ext. PhD) at Leiden University. Leveraging his extensive curatorial experiences, he has pioneered innovative modes of mediation that lead us to reenvision exhibition practices relevant to our contemporary era. His interdisciplinary approach and the establishment of decentralized imaginative constructs are indicative of his unyielding commitment to tackling any creative challenge.

As the co-director of the TuDelft Urban Ecology and Ecocities Lab, Kalliwoda is currently engaged in international collaborations with academics and specialists to devise novel methodologies for the transformation of urban centers into nature reserves catering to pollinators.

Through his interactive art and symbiotic adventures, Kalliwoda injects elements of romanticism and utopia into the fabric of our present reality, bridging the gap between imaginative ideals and tangible experiences in the here and now.

Lectures & Symposia (selection)

Art and Research at the outer most limits of location specificity, Parsons School of Art and Technology, NY, NY, 2014
While the Gods are Absent, Kuru Trust, D’Kar, Botswana, 2012
Radius of Art, Heinrich Böll Foundation, Berlin, 2012
Art-Architecture-Science in Sustainability, V2_, Institute for Instable Media, Rotterdam, 2010
Blueprints of Tomorrow, Starship Earth, Designmai, Berlin, 2005

Exhibitions, solo and group (selection)

Museumpark Rotterdam, Architecture Institute and V2_, 2010 (solo)
Conflicts/resolution, OSCE, Sammlung Essel, Klosterneuburg Vienna, Austria, 2003 (group)
DeLeon White Gallery, Toronto, Canada, 1997 (solo)
Forte – Pianofabriek, Brussels, Belgium, 1997 (solo)
La Genie de Bastille, Paris, France, 1993 (solo)
Cher Gallery, Tobacco Docks, Docklands, London, UK, 1991(solo)
Winsor-Betts Gallery, Santa Fe, New Mexico, USA, 1989 (solo)
La Mama‘s La Galeria‘, NY, NY, USA, 1989 (solo)
Cavendish Square, Cape Town, SA, 1987 (solo)

Awards and Patronages (selection)

EU Kaleidoscope Program
ECF (European Cultural foundation)
Apex changes
Mondriaan foundation
Napa/Katuak, Greenland, research grant
Soros funds (Serbia and Hungary)
UNESCO (Paris)

Projekte

Videos

It’s the most beautiful day, today

Europartrain

Art, architecture, science

Adopting to climate change

Understanding polliniferoused 01

Understanding polliniferoused 02