Dirk Meinzer
Daniel Frese Prize for Contemporary Art 2014

Monika Jarecka
Daniel Frese Prize for Contemporary Art 2014, Young Artists Category

Dirk Behrens
Maria Mathieu
Special Mentions in the Frame of the Daniel Frese Prize 2014

(F.l.t.r.) HAWOLI, Cornelia Kastelan (curator KIM), Monika Jarecka, Prof. Dr. Stefan Römer (Berlin University of the Arts) who held the honouring speech, Dirk Behrens, Dr. Christoph Behnke (project head of KIM), Maria Mathieu, Dirk Meinzer, and Stefanie Kleefeld (co-director Halle für Kunst Lüneburg)
Photo: Hans-Jürgen Wege

The Daniel Frese Prize for Contemporary Art 2014, dedicated to the theme of »Passion«, is awarded to Dirk Meinzer from Deinste in the administrative district of Stade.

The winner of the Daniel Frese Prize for Contemporary Art 2014 in the »Young Artists« category is Monika Jarecka from Buchholz in the administrative district of Harburg.

The three Special Mentions in the frame of the Daniel Frese Prize go to Dirk Behrens from Harsefeld-Issendorf (Stade), HAWOLI from Neuenkirchen (Heidekreis) and Maria Mathieu from Sottrum (Rotenburg / Wümme).

The artists were honoured on Thursday, 30 January, 2014, at the awards ceremony in the Huldigungssaal of the historical town hall of the Hanseatic City of Lüneburg. The town hall of Lüneburg accommodates numerous works by the late-Renaissance painter Daniel Frese (1540–1611), to whom the prize for contemporary art launched in 2011 is dedicated.

The critic, art historian and artist Prof. Dr. Stefan Römer (Universität der Künste Berlin) held the speech honouring the prize-winners. As an art critic, Stefan Römer has written for Texte zur Kunst, Spex, Frieze and Springerin. His most recent book (2014) deals with the concept of »inter-esse«, which he examines in regard to something like an artistic passion that he describes as preceding mundane, »passion-controlled interests« such as fame, money and eros. Stefan Römer is the winner of the AdKV-Art-Cologne-Prize for art critique awarded by the Arbeitskreis deutscher Kunstvereine in cooperation with the Cologne Art Fair.

In 2014, the jury appointed for this year’s thematic complex »Art and Passion« to decide upon the two prizes and three special mentions again consisted of renowned representatives of the art field. The jury was headed by Prof. Dr. Marie-Luise Angerer, professor of media and cultural studies at the Academy of Media Arts Cologne (KHM). One focus of her academic work is on research concerned with »desire for the affect«, as it is formulated in the title of one of her books. Marie-Luise Angerer has presented numerous publications and lectures on this theme, while also dealing with bodies, gender and politics. In 2013 she co-organised the international symposium »Timing of Affect« at the KHM. Further jury members were Jean-Claude Freymond-Guth from the Gallery Freymond-Guth Ltd. Fine Arts, Zurich (CH) and Lars Friedrich, who runs Galerie Lars Friedrich in Berlin. Both gallerists operate internationally and represent artists exhibiting across the globe. With the art scholar Stefanie Kleefeld, co-director of Halle für Kunst Lüneburg eV, a representative of the institution was present that as a co-operation partner of KIM this year will provide its exhibition spaces for the prize-winners. Finally, the internal members of the jury were the co-curator of the show, Cornelia Kastelan, and the project head of KIM, Dr. Christoph Behnke.

On Friday, 16 May, 2014, the group exhibition bringing together the created works of the two Daniel Frese prize-winners with positions of (inter)national artists will open at Halle für Kunst Lüneburg eV. In their talk, Stefanie Kleefeld and Valérie Knoll introduced Halle für Kunst, followed by the announcement of the show curated together with Cornelia Kastelan and dedicated to »Art and Passion«, this year’s theme of KIM.

The prize money of 3000 euros each is for the production of the artworks based on the award-winning drafts. Not only the two prizes but also the three special mentions lend the winners enhanced visibility via the communication and the newsletter of the website of »Art Agenda« seated in New York. It reaches a professional audience of around 50,000 institutions and actors of the »globalised« art world.

In his talk, the project head of KIM, Dr. Christoph Behnke, presented the theme chosen this year by KIM. He also cited the jury’s statement that applied to all submissions: »Passion was translated by the artists in a multifaceted way. But in many cases it was interpreted as a dimension of creativity itself, not a theme, then, that is depicted. It is the artist’s personality itself that is passionate per se, be it in dealing with a topic, in the approach to nature and the landscape, or in the recurring gesture, the repetition of the artistic process of creation – as a special form of intensity.« Christoph Behnke thanked all artists who had participated in the Daniel Frese Prize 2014 with in many cases highly interesting drafts.

The KIM Project in the Innovation Incubator of the Leuphana University of Lüneburg funded by the European Union aims at strengthening contemporary fine art in the region of the Incubator project and in 2011 initiated the Daniel Frese Prize honouring fine or visual artists. The prize is awarded annually for outstanding drafts for new artworks. The Daniel Frese Prize is tendered to annually changing themes to which the respective exhibitions relate. The prize goes to two artists with place of residence in one of the administrative districts of the project region: Celle, Cuxhaven, Harburg, Heidekreis, Lüchow-Dannenberg, Lüneburg, Osterholz, Rotenburg (Wümme), Stade, Verden and Uelzen as well as the Hanseatic City of Lüneburg.

— Cornelia Kastelan, Valérie Knoll

Dirk Meinzer
Daniel Frese Prize 2014

The Daniel Frese Prize 2014, offered on the theme of »Passion«, is awarded to the artist Dirk Meinzer for his submitted draft »Eros und die Bienen« (»Eros and the Bees«). The jury found his proposal convincing and gave the following reasons for its decision: »Dirk Meinzer is mainly concerned with the intensity of artistic work when he seeks to make the innumerable dead bees, brought to him by a beekeeper from the region, dance. To this end, he created a sort of tableau vivant on which the bees’ wings unfold their luminosity like blossoms.«

The phosphorescent materials he used show dull colours during the day, while in the dark, they emit energy in the form of rays, an afterglow. Materials – natural ones of animal or vegetal origin, for example, but also anthropogenic ones – are a starting point of Meinzer’s artistic practice. One can find them, explored in regard to their many transformative potentials, in unique orchestrations. The in part »magical« connections they establish are not exhausted in the pure presence of objectness, though. Instead, they transcend their here and now by means of their own »stories of passion/affliction«, like a prism: In the draft at hand, the title alludes to Greco-Roman mythology which has been historically taken up both by poetry and fine art. A familiar motif is that of Amor stung by a bee, dealt with in works by Lucas Cranach the Elder, Albrecht Dürer or Clemens von Zimmermann, but also in the tradition of a certain kind of poetry, that of anacreontics, by Ludwig C.H. Hölty or Gotthold Ephraim Lessing. Abstractions reminiscent of colour fields on which the artist bases his collages additionally make reference to his genuine field, that of art itself.

With the wings removed from dead bees, Meinzer evokes not only »nature« and the fascination by its beauty, but also aversion and disgust and thus cultural-theoretical, psychoanalytical discourses. Meinzer lets secret or encoded desires – bees dancing by night, stung Amor, artistic emotivism in general – implode in a controlled fashion.

What additionally bears witness to this are the ironic-decorative comments in which his comparable tableaux mutate to a »feminine« interior, for example, in a window image-in-the-image, a hovering shower curtain or a computer embellished with flower stickers. With a laconic gesture, passion is referred back to its position as a phenomenon of everyday life, even of repulsive kitsch. It can only remain in »art« to the extent that it abandons itself taciturnly to the break with what is sacrosanct, so as to live through the ambivalences of desire and disgust, artistic pathos and bric-a-brac, and thus expose passion to an adequate critique. – »Libido artistica«, abjection and kitsch are presented as delicate panels. The jury concludes its assessment with the words: »Meinzer draws his found footage from the landscape of Lüneburg in order to have it unfold its unique, fascinating effects in a new and almost living form.«

Dirk Meinzer, born in Karlsruhe in 1972, lives and works in Deinste and Hamburg. He received his diploma in 2004 at the Hochschule für bildenden Künste Hamburg in the field of fine art under Claus Böhmler. He had previously studied business administration and philosophy for several semesters in Berlin. Between 2010 and 2011, Meinzer lectured at the HFBK Hamburg. The artist was a HAP Grieshaber stipend-recipient in Reutlingen (2011), he received a studio and working grant from the AZB Zürcher Bildhauer (2010), a studio grant at the Goldbekhaus, Hamburg (2008), and a Hamburger Arbeitsstipendium für Bildende Kunst (2007). He was also supported as a stipend-recipient of the Studienstiftung des Deutschen Volkes, including a travel grant for a stay in Tanzania, during which he conducted his own studies (2000–2004 and 2006). Works by Dirk Meinzer have been on view at, among others, the Kunstmuseum Stade, Galerie St. Gertrude Hamburg, Städtische Galerie Reutlingen, Galerie Feldbuschwiesner Berlin, message salon in the Perla-Mode Zurich (CH), Galerie Olaf Stüber Berlin, the Van Abbemuseum Eindhoven (NL), Kunsthalle Göppingen, Kunstverein St. Pauli Hamburg and Galerie Oel-Früh Hamburg; with the group friends and lovers in underground he has exhibited at, among others, 59 Rivoli Paris (F) and Kunsthaus Jesteburg.


— Cornelia Kastelan

Monika Jarecka
Daniel Frese Prize 2014, Young Artists Category

Monika Jarecka’s draft entitled »Setting« focuses on the question of the visibility or invisibility of the emotional disposition of »passion«, which appears to be shaped in a radically subjective way, both in the artistic working process and in the work itself. She asks: »Can passion be localised in a theme during artistic work? And if so, can one make its energy visible and tangible for others? Or is passionate activity discernible in the product of the artistic work?«

In her draft, Monika Jarecka proposes creating her work on location during the first five days of the ongoing exhibition, thus granting the viewers insights into the production process that normally takes place unseen. From the jury’s decision: »Monika Jarecka grasps passion as the ‘passion of artistic work’, which she will put up for debate in a performance. Walls will be painted by her, erased again, painted again, erased again, painted again, to thus visualise for the audience the oftentimes Sisyphus-like energy of artistic work.«

In her piece, which is based on simple instructions, she will produce an abstract colour-field painting on two free-standing canvases in the gallery space and have the production process documented by an installed camera. The painting will emerge through the constant application of a colour surface and its immediate deletion with water. The act of erasing does not result in a void but leaves traces and layers behind that evolve into a colour space, like a palimpsest. In this self-imposed ritual, passion manifests itself between allegedly senseless (erasing) and meaningful (applying) activities in a kind of »meditative expressionism«. Yet this does not claim to be psychologically-emotionally charged but is rather characterised by a pleasantly reserved sobriety. For although »Setting« is painted with a deliberately chosen colour palette and colour-psychological intentions could be suspected in these »Rothko-like«, blurring colour spaces, it is precisely the performative aspect of the work that draws attention to the indeed critical question regarding what this creative drive, this passion, is all about. Where does it manifest itself and is it legitimisation enough to justify art as meaningful and existentially necessary?

Monika Jarecka convinced the jury with her performative »Setting« in which she deals with the passion of artistic production in both a timeless and topical manner: to assert one’s own artistic activity and the artwork, in which sense and senselessness, emotionality and rationality converge, as a necessity – but to do so with the simultaneous, distanced awareness of the fragility and transience of what has been produced.

Monika Jarecka, born in 1975, received her diploma in 2005 as a master student in the painting class of Katharina Grosse at the Kunsthochschule Berlin-Weißensee. In 2004/2005 she also spent a year at the Städelschule in Frankfurt am Main, where she studied painting under Michael Krebber and sculpture under Tobias Rehberger. In 2004 she studied at the Chelsea College of Art and Design in London. From 2002–2004 the artist was a stipend-recipient of the Studienstiftung des Deutschen Volkes, in 2004 this stipend was expanded by a project grant of the foundation for New York. Works by Monika Jarecka have been on display at, among others, the Temporäre Kunsthalle, galerie weißer elefant and the forgotten bar as well as the Kunsthalle Brennabor of the Ministerium für Wissenschaft, Forschung und Kultur des Landes Brandenburg, the Saarländische Künstlerhaus Saarbrücken and Galerie Steinle Contemporary Munich.


— Valérie Knoll

Dirk Behrens
Special Mention

The jury honoured Dirk Behrens for his open group of works with the programmatic title »Ohne Titel« (»Untitled«). Dirk Behrens contrapuntally counters the big concept of »passion«, with which nebulous artistic intentions as well as emotive formulas can indeed be associated, with small-format, postcard-size paintings showing simple motifs: »My contribution,« says the artist, »stands in opposition to the great poses to be expected and feared in the artistic treatment of the theme of passion.«

In addition to his medium- and large-size works, Dirk Behrens, who is decidedly dedicated to the medium of painting, has for many years been exploring the possibilities of the small format, the miniature, the detail, that per se do not allow for sublime gestures as one frequently finds them in the history of painting. The jury stated that Behrens instead »explores the small pictorial space that opens the view to what is small, intimate and inconspicuous«. Behrens’ paintings show everyday scenes, partially also exhibition situations, that cannot always be clearly identified. Human figures and groups often appear that remain faceless and sketchy due to the artist’s abstracting style of painting. Dirk Behrens lends his impressions and imaginations of fleeting and mostly unspectacular moments a melancholy presence. At the same time, he succeeds in translating his impressions into pictures that precisely on account of their simplicity possess something existential. This sensitive and passionate dealing with the transience of the everyday prompted the jury to honour Dirk Behrens.

Dirk Behrens, who studied fine art at the Hochschule für Bildende Künste in Braunschweig, has been working as a freelance painter and graphic artist since the early 1990s. The artist’s works have been on view at, among others, Kunstverein Rotenburg an der Wümme, Schloss Agathenburg near Stade, Espace d’Art Contemporain International, in Lorrez-le-Bocage (F), Galerie am Modersohn-Haus, Worpswede, and Kunstverein Baden-Württemberg, Stuttgart. He was awarded the first Emder Kunstpreis for his work as well as the Kunstpreis of the Dr. Marlene Trentwedel-Stiftung, Bremervörde.


— Valérie Knoll

Special Mention

HAWOLI is honoured with a Special Mention in the frame of the Daniel Frese Prize 2014 for his draft »Erinnerung« (»Reminiscence«). The jury was convinced by his proposal to take up earlier photo series, continue working on them, combine them with new photos and thus develop an updated constellation. The starting point is the black-and-white series »Gesa« from 1978. In nine steps, the artist approaches his model. While this coming closer and the partial exposure of the model establishes a certain intimacy, an altered process sets in when he is as near as possible: the picture of »Gesa« dissolves and is multiplied – an optical phenomenon reminiscent of Antonioni’s blow-up effect. In the jury’s words, it is a »face that grows larger and larger until the contours blur, to then show itself as a new pattern of shadow and light.« For the second part of his draft, HAWOLI plans to use the black-and-white rehearsal shots of »Gesa« that are transformed into painterly photographs on laid paper when exposed to different exposure times. The source of evoking variegated moods is shifted by the artist in the third part of his work.

Finally, the end is to be marked by a large colour photograph that is exposed to differently coloured light. Therefore, oscillating atmospheres are no longer laid out in the work itself but turn out to be a question of what is added. In the artist’s draft, the jury sees »closeness and distance as alternating movements that also continue in the differences of the material (laid paper).« It gives credit to HAWOLI‘s experimental play with documentation and manipulation, reminiscences and visibilities, past and retroactively constantly changing constellations of longing.

HAWOLI, born in Bleckede on the Elbe in 1935, lives and works in Neuenkirchen. He first studied engineering before switching to the Folkwangschule Essen, today’s Folkwang Universität der Künste. In 1990 he supplemented his studies by a stay at the Cité Internationale des Arts, Paris (F). In 1964 the artist was awarded the Médaille d’argent in the frame of the Prix Europe de Peinture, Ostende, and that same year the Kunstpreis of the City of Gelsenkirchen. In 1968 HAWOLI was a stipend recipient of the Kulturkreis der Deutschen Industrie and in 1985 he received an artist’s grant from Lower Saxony. HAWOLI’s objects, sculptures and photo works have been exhibited at numerous locations in Germany and abroad, among others, Kunstverein Rotenburg, Museum Schloss Fellenberg Merzig, Galerie Vom Zufall und vom Glück Hannover, Kunstverein Heidelberg, Kunstverein Gelsenkirchen, Städtische Galerie Bremen, Badischer Kunstverein Karlsruhe, Galleria d’Arte Moderne, Gaeta (I), Lenbachhaus Munich, Galerie Senatore Stuttgart, Galerie Heseler Munich, Galerie Maywald Paris (F), Galerie Falazik Bochum and Kunstverein Springhornhof Neuenkirchen. HAWOLI is also known for his two-part sculpture ensemble »Fragment« at Haus des Reichs in Bremen.


— Cornelia Kastelan

Maria Mathieu
Special Mention

Maria Mathieu receives a Special Mention for her conceptual drawing »Wie lang ist ein Weg No 3« (»How Long is a Way No 3«). The jury sums up the highly commendable proposal of the artist as follows: »During a study stay, Maria Mathieu hiked from Marseille to Lourdes and documented each step she took, recorded in a strict linearity emphasising the progress she made.«

The hand-drawn, seemingly endless pigment strokes, noted down line by line in long rows, result from a multistep principle which was precisely defined beforehand. During the 46-day hike, Maria Mathieu recorded the hours and kilometres she walked each day, arriving at a total of 860. By means of a formula she then calculated the steps she took. The realisation of the equation, according to which one line is to be drawn for each step, follows a working plan with which the artist imposes a 6-hour phase of daily productivity on herself. During this time she empathises with the interplay of body and material, pulse and drawing rhythm. The retrospective transfer of the hike to a visual code simultaneously anchors the artist in the presence of the artistic process, when the working sounds are documented in a recording to be presented with the drawings as an acoustic element. Maria Mathieu’s work is thus an echo of two pasts and at the same time present in an equally elegiac and systematic repetition.

The jury formulated: »Each kilometre, each hour, each day thus becomes an intensive, passionate line.« The functionality of information systems to which Mathieu’s artistic practice alludes is subverted in this »aesthetics of administration« (Buchloh). But she not only evades direct exploitability; affect and obsession, body and material come into play in a different manner again. The arbitrariness of ideographic notation makes way for the presence of the grid, abstract elements are condensed to a reality of their own, which is deeply connected with the reality she documents.

Maria Mathieu, born in Saarlouis (then F) in 1948, lives and works in Sottrum. She studied fine art at the Hochschule für Künste Bremen under Rolf Thiele and Katharina Hinsberg, as well as at the École des Beaux Arts in Toulouse (F), before receiving her master diploma in Bremen under Katharina Hinsberg and Jeanne Faust. In 2013 she was Artist in Residence at Glurns Art Point (GAP) near Bolzano (I), in 2012 she received grants from GEDOK Bremen and the Senator für Kultur Bremen as well as stipends from the Kunstfonds des Landes Salzburg and the City of Bremerhaven. In 2009 the artist was a stipend recipient of the Schwabenakademie Augsburg. Works by Maria Mathieu, who before studying art was engaged in literature, have been on view at, among others, GAP near Bolzano (I), Galerie Klaus Braun Stuttgart, Neuer Kunstverein Worpswede, GAK Gesellschaft für aktuelle Kunst Bremen, Künstlerhaus Cuxhaven, the Kulturstiftung Schloss Agathenburg, in the frame of C.A.R. Contemporary Art Ruhr, New Talents section, at the Zeche Zollverein in Essen, the Kunsthalle am Hamburger Platz Berlin, as well as the Landeskunstausstellung of the BBK Niedersachsen in Aurich.


— Cornelia Kastelan

The Daniel Frese Prize for Contemporary Art has been offered by the KIM project since 2011 to fine and visual artists from the region of Lüneburg. The prize is dedicated to a different theme each year and awarded to two artists for outstanding drafts for new works of art. Three further artists are publicly honoured in the form of Special Mentions.

The annual awarding of the Daniel Frese Prize to two artists with place of residence in one of the region’s eleven administrative districts (Celle, Cuxhaven, Harburg, Heidekreis, Lüchow-Dannenberg, Lüneburg, Osterholz, Rotenburg (Wümme), Stade, Verden, and Uelzen) combines the public honouring of the two award-winners with a prize money of 3,000 euros each for their prize-winning drafts. The award-winners, with one from the field of »Emerging Art« (up to 40 years old), additionally receive the opportunity to realise their draft and present it in a group exhibition, which brings their works together with positions of renowned (inter)national artists.The prize money is intended for the development and realisation of the artwork based on the submitted draft. The prize is offered on annually changing themes to which the respective exhibitions will refer as well. The awarded works are documented in publications and thus outlast the temporary exhibition presentation.


The prize is dedicated to the memory of the Lüneburg painter and cartographer Daniel Frese (1540-1611). He is remembered for his allegorical paintings for the City Hall of Lüneburg in which he created a new visual language. Furthermore, he produced drafts for »Civitates Orbis Terrarum,« the world's first city atlas. During the early phase of the autonomization of the artistic field from the church, feudal principals, and the state, Frese emerged as a versatile artist.

Thematic focus 2014: »Art and Passion«

It is undisputed that fine art is a preferred vehicle for expressing passions. From schematized representations of emotions to expressive gestures: painting, sculpture, installation, film, and performance have served and continue to serve not least as the (re)presentation of sentiments, inner and outer touches, moods or passionate inclinations. At issue is not merely the deceptive reproduction of an »authentic« emotion arising elsewhere. Rather, artistic expressions possess a character of engendering and producing with effective power of its own kind.

Artworks gaze at us, they charm and move, shock or fascinate us and give rise to satisfying, disturbing or ambiguous feelings. From which »affective relief« (Husserl) and passive states do they emerge as »visions« and transformations of their producers? What do the ones encountering them experience? Artworks also make reference to the world of art, in which next to »passionate artists« and »captivated viewers« the works themselves appear as »desired objects« and thus as fetishes. In the field of art, they encounter »fervent collectors«, »scornful critics« or »unleashed markets«.

But what specific social situation, what maelstroms, motives and human conditions cause intensive attachments to art? How does the disgust with or the passionate commitment to art, the »love of art«, come about? Is this a deeply individual obsession or a heteronomous collection? The fact that art is capable of seducing and arousing passions has at times made it suspicious of itself: Is therefore a form of art necessary that is obliged to »sensory degradation« and pursues an »aesthetic of reason«? But what about kitsch, effects and ecstasy? Is it precisely an art charged with affects that can establish a distance by means of disconcerting powers so as to evade the complete merging with the surroundings? – The thematic focus of the Daniel Frese Prize 2014 is meant to incite artists to delve into the various facets of »Art and Passion«.

Exhibition 2013

The exhibition planned for this year focuses, like the Daniel Frese Prize 2014, on »Art and Passion«. The show will feature the works produced by the award-winning participants of the Daniel Frese Prize 2014 together with artworks from an (inter)national context. The show which opens on 16 May, 2014 is hosted by Halle für Kunst Lüneburg.

Exhibition 2013: Cultural foundation Agathenburg Castle near Hamburg
Artists: Jeremiah Day, Renée Green, Gilta Jansen & Gordon Castellane (Daniel Frese Prize 2013), Christodoulos Panayiotou, Megan Francis Sullivan, Daniela Töbelmann & Carola Keitel (Daniel Frese Prize 2013, category of »young emerging artists«)

Exhibition 2012: Kunstverein & Stiftung Springhornhof, Neuenkirchen
Artists: Josephine Meckseper, Shana Moulton, Fabian Reimann (Daniel Frese Prize 2012), Simon Starling, Niko Wolf (Daniel Frese Prize 2012, category of »young emerging artists“)

Exhibition 2011: Kunstraum of Leuphana University of Lüneburg
Artists: Daniel Buren, Diego Castro (Daniel Frese Prize 2011), Maria Eichhorn, Katja Staats (Daniel Frese Prize 2011, category of »young emerging artists«) a.o.

Jury, Award Presentation and Laudator

In 2014, an expert jury of renowned professionals of the art field will again assess the drafts and name the prize-winners. The award presentation of the Daniel Frese Prize 2014 will take place on 30 January, 2014 in the Huldigungssaal of the City Hall of the Hanse City of Lüneburg.

The critic, art historian and artist Stefan Römer, professor at the Akademie der Bildenden Künste München, has been won as honouring speaker for the award presentation ceremony of the Daniel Frese Prize 2014. He is currently teaching at the Berlin University of the Arts and the Leuphana University of Lüneburg. As an art critic, Stefan Römer has written for magazines including Texte zur Kunst, Spex, Frieze and Springerin. He is a winner of the AdKV-Art-Cologne-Prize for Art Criticism, awarded by the Arbeitskreis deutscher Kunstvereine in cooperation with this art fair.

Jury 2013: Michaela Melián (artist, Professor at University of Fine Arts of Hamburg) (chair), Eva Birkenstock (art historian, curator KUB Arena Kunsthaus Bregenz, Österreich), Holger Kube Ventura (director Frankfurter Kunstverein), Bettina Roggmann (art historian, chairwoman of the board of the cultural foundation Agathenburg castle), Cornelia Kastelan, Valérie Knoll (curators KIM).
Laudator 2013: Beate Söntgen (Professor of Art History and Vice President at Leuphana University of Lüneburg)

Jury 2012: Marius Babias (director Neuer Berliner Kunstverein, n.b.k.) (chair), Bettina von Dziembowski (director Kunstverein Springhornhof, Neuenkirchen), Tue Greenfort (artist, Berlin, documenta(13) a.o.), Karin Guenther (gallery Karin Guenther, Hamburg), Christoph Behnke (director KIM), Valérie Knoll (curator KIM)
Laudatorin 2012: Heike Munder (director Migros Museum für Gegenwartskunst Zurich)

Jury 2011: Beatrice von Bismarck (at that time rector Academy of Visual Arts, Leipzig) (chair), Thomas Locher (artist, The Royal Danish Academy of Fine Arts, Copenhagen), Bernd Milla (executive director Art Foundation Baden-Wuerttemberg, Stuttgart), Nikolaus Oberhuber (gallery KOW, Berlin), Christoph Behnke (director KIM), Julia Moritz (curator KIM)
Laudator 2012: Robert Fleck (at that time director Art and Exhibition Hall of the Federal Republic of Germany, Bonn)

Award offerer: KIM, Innovation Incubator at Leuphana University of Lüneburg

The Daniel Frese Prize is an initiative of KIM in collaboration with Kunstraum of Leuphana University of Lüneburg. KIM is an interdisciplinary project supporting the markets for avant-garde and emergent art in the region of Lüneburg, which is located in the triangle of the metropolitan regions of Hamburg, Bremen and Hannover. The project KIM is part of the Innovation Incubator at Leuphana University of Lüneburg, which is an EU major project, financed by the European Regional Development Fund and co-funded by the federal state of Lower Saxony.


Invited to the competition are fine or visual artists who have their place of residence in one of the eleven administrative districts of the former administrative region Lüneburg. The administrative districts are Celle, Cuxhaven, Harburg, Heidekreis, Lüchow-Dannenberg, Lüneburg, Osterholz, Rotenburg (Wümme), Stade, Verden, and Uelzen; a corresponding proof of residency is to be enclosed.

The main part of the written application is the draft in the form of a formulated proposal for the content-related, formal and practical realization of an artwork addressing the theme of 2014, »Art and Passion«. This proposal should be at least a half A4 page long and not exceed two A4 pages. There are no limitations in regard to media and genres as long as they can be attributed to fine or visual art. They must be indicated in the proposal (film, photography, installation, painting, performance, digital production, sculpture, video, drawing etc.). A tabular form is recommended for the educational and professional CV as well as the documentation of the most important solo and group exhibitions in the past, which must also be submitted.

The entry deadline for the Daniel Frese Preis 2014, which focuses on the theme of »Art and Passion«, is on Monday, 13 January, 2014. Materials must be sent to the head of the KIM project office, Nora Hannemann (address see below). For applications via Email, all materials must be scanned, signed and sent as a PDF to info@kim-art.net.

The prize money amounts to 3,000 euros for each of the two award-winners. It is meant for the production of the artwork based on the submitted draft. The work will be on view for the first time in this year’s exhibition dedicated to the theme of »Art and Passion« at Halle für Kunst Lüneburg.

The award presentation ceremony will be held on Thursday, 30 January, 2014, in the Huldigungssaal of the City Hall of the Hanseatic City of Lüneburg. In addition to the two award-winners, the three artists with special mentions for their drafts will also be invited. In the following weeks, the drafts of the award-winners will be produced in co-ordination with the persons responsible for the show. The award-winners will also be present at the opening of the exhibition on Friday, 16 May, 2014. The works developed based on the drafts elected by the expert jury will be published in an overall catalogue realized by KIM in cooperation with art institutions from the region of Lüneburg.

With their application, the participants approve of the procedure. Upon submission, the participants of the competition agree to the storage of their data for research purposes and to the archiving and reproduction of the submitted documents. The submitted documents will not be sent back. The jury’s decision is final and not contestable. By participating, the applicant confirms that he or she is the originator of the submitted proposal. The prize offerer has the right to show the works based on the awarded drafts in the frame of the mentioned exhibition and possibly other presentations, as well as to publish reproductions in publications and on the internet without paying a fee and with the indication of the artist’s name. With their submission, the participants declare that they agree to the specified publications. Any recourse to courts of law is excluded.

— Cornelia Kastelan, Valérie Knoll

The Innovation Incubator Lüneburg is an EU major project, financed by the European Regional Development Fund and co-funded by the federal state of Lower Saxony.