{"id":601,"date":"2025-06-28T22:44:36","date_gmt":"2025-06-28T20:44:36","guid":{"rendered":"https:\/\/tatjanastuermer.de\/tatjanawork-copy\/"},"modified":"2026-03-20T11:59:56","modified_gmt":"2026-03-20T10:59:56","slug":"tatjanawork-copy","status":"publish","type":"page","link":"https:\/\/tatjanastuermer.de\/","title":{"rendered":"archive 25"},"content":{"rendered":"","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":5,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"class_list":["post-601","page","type-page","status-publish","hentry"],"grid":"{\r\n \"colCount\": 24,\r\n \"colGutter\": 0.1,\r\n \"rowGutters\": [\r\n 0,\r\n 0,\r\n 0,\r\n 0,\r\n 0,\r\n 0,\r\n 0,\r\n 0,\r\n 0,\r\n 0,\r\n 0,\r\n 0,\r\n 0,\r\n 0,\r\n 0,\r\n 0,\r\n 0,\r\n 0,\r\n 0,\r\n 0,\r\n 0,\r\n 0,\r\n 0,\r\n 0,\r\n 0,\r\n 0,\r\n 0,\r\n 0,\r\n 0,\r\n 0,\r\n 0,\r\n 0,\r\n 0,\r\n 0,\r\n 0,\r\n 0,\r\n 0,\r\n 0,\r\n 0,\r\n 0,\r\n 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Drawing Ornaments with my Tongue
<\/span>2026<\/span>
performance
<\/span><\/span><\/span>A tongue is said to be cheeky, intimate, muscular, fluid, crossing boundaries, loud, orange. It tastes, speaks, touches, and carries traces of identity. <\/span><\/span>It is the organ that connects and separates us with each other, that creates closeness and marks boundaries, but also serves as a site where social forces are negotiated and where questions of identity, gender, and performativity are explored. In this way, it becomes a space for observing and negotiating both individual and collective embodied knowledge. \u201cDrawing Ornaments with my Tongue\u201d employs performative techniques to investigate the phenomenon of language from a female perspective. The exploration centers on the practice of <\/span>coloratura<\/em>, considered both. vocal technique and in relation to medieval writing practices a way to work with coloring pigments. Together with vocal recordings created for the work in collaboration with singer Clare Tunney and musical sequences by Lukas Rehm, the piece envelops the stairwell of the Froehlich Collection in knowledge and embodiment. <\/span>As part of the ongoing event series \\\"Kostprobe\\\" at Sammlung Froehlich, curated by Sarah Maria Serve, 2026. Collaborators in this project were Lukas Rehm (sound) and Clare Tunney (singer). Produced and and realized together with Stiftung Froehlich, images: Jan Hottmann.<\/span><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 1,\r\n \"col\": 0,\r\n \"colspan\": 24,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 236,\r\n \"absolute_position\": false\r\n },\r\n {\r\n \"type\": \"img\",\r\n \"cont\": \"\/wp-content\/uploads\/2026\/03\/2026_03_07-Kostprobe_II__31A9398.jpg\",\r\n \"align\": \"top\",\r\n \"row\": 2,\r\n \"col\": 0,\r\n \"colspan\": 12,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 282,\r\n \"attid\": 730,\r\n \"sizes\": {\r\n \"full\": \"\/wp-content\/uploads\/2026\/03\/2026_03_07-Kostprobe_II__31A9398.jpg\",\r\n \"_1024\": \"\/wp-content\/uploads\/2026\/03\/2026_03_07-Kostprobe_II__31A9398-1024x1536.jpg\",\r\n \"_768\": \"\/wp-content\/uploads\/2026\/03\/2026_03_07-Kostprobe_II__31A9398-768x1152.jpg\",\r\n \"_512\": \"\/wp-content\/uploads\/2026\/03\/2026_03_07-Kostprobe_II__31A9398-512x768.jpg\",\r\n \"_265\": \"\/wp-content\/uploads\/2026\/03\/2026_03_07-Kostprobe_II__31A9398-265x397.jpg\"\r\n },\r\n \"w\": 1267,\r\n \"h\": 1900,\r\n \"ar\": 1.499605367008682,\r\n \"alt\": \"\",\r\n \"absolute_position\": false,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"img\",\r\n \"cont\": \"\/wp-content\/uploads\/2026\/03\/IMG_1215-2-1.png\",\r\n \"align\": \"top\",\r\n \"row\": 2,\r\n \"col\": 12,\r\n \"colspan\": 12,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 284,\r\n \"attid\": 737,\r\n \"sizes\": {\r\n \"full\": \"\/wp-content\/uploads\/2026\/03\/IMG_1215-2-1.png\",\r\n \"_1024\": \"\/wp-content\/uploads\/2026\/03\/IMG_1215-2-1-1024x1536.png\",\r\n \"_768\": \"\/wp-content\/uploads\/2026\/03\/IMG_1215-2-1-768x1152.png\",\r\n \"_512\": \"\/wp-content\/uploads\/2026\/03\/IMG_1215-2-1-512x768.png\",\r\n \"_265\": \"\/wp-content\/uploads\/2026\/03\/IMG_1215-2-1-265x397.png\"\r\n },\r\n \"w\": 1267,\r\n \"h\": 1900,\r\n \"ar\": 1.499605367008682,\r\n \"alt\": \"\",\r\n \"absolute_position\": false,\r\n \"frameOverflow\": \"right\"\r\n },\r\n {\r\n \"type\": \"img\",\r\n \"cont\": \"\/wp-content\/uploads\/2026\/03\/93785504-f591-46b9-8a49-ccdc725cfb4d-2.jpg\",\r\n \"align\": \"onethird\",\r\n \"row\": 3,\r\n \"col\": 0,\r\n \"colspan\": 24,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 289,\r\n \"attid\": 736,\r\n \"sizes\": {\r\n \"full\": \"\/wp-content\/uploads\/2026\/03\/93785504-f591-46b9-8a49-ccdc725cfb4d-2.jpg\",\r\n \"_1920\": \"\/wp-content\/uploads\/2026\/03\/93785504-f591-46b9-8a49-ccdc725cfb4d-2-1920x1081.jpg\",\r\n \"_1280\": \"\/wp-content\/uploads\/2026\/03\/93785504-f591-46b9-8a49-ccdc725cfb4d-2-1280x721.jpg\",\r\n \"_1024\": \"\/wp-content\/uploads\/2026\/03\/93785504-f591-46b9-8a49-ccdc725cfb4d-2-1024x577.jpg\",\r\n \"_768\": \"\/wp-content\/uploads\/2026\/03\/93785504-f591-46b9-8a49-ccdc725cfb4d-2-768x432.jpg\",\r\n \"_512\": \"\/wp-content\/uploads\/2026\/03\/93785504-f591-46b9-8a49-ccdc725cfb4d-2-512x288.jpg\",\r\n \"_265\": \"\/wp-content\/uploads\/2026\/03\/93785504-f591-46b9-8a49-ccdc725cfb4d-2-265x149.jpg\"\r\n },\r\n \"w\": 2000,\r\n \"h\": 1126,\r\n \"ar\": 0.563,\r\n \"alt\": \"\",\r\n \"absolute_position\": false,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Mother of the House
<\/span>2025<\/span>
spatial installation
<\/span><\/span><\/span>The installation <\/span>\u00ab<\/span>Mother of the House<\/span>\u00bb.<\/span> explores questions of femininity, historicity, the fragility of ownership, and aesthetic struggles through a specific architectural object: the Villa Tugendhat in Brno, built in 1930 by Mies van der Rohe. After the Tugendhat family fled into exile, the villa was repeatedly repurposed and structurally altered from the beginning of the Second World War onwards. Following its original habitation by Grete Tugendhat and her family, it served, among other things, as a design office for Nazi aircraft engines, quarters for soldiers and horses of the Red Army, a dance school, a children\u2019s hospital, and a site of political ceremonies.<\/span> Installation views Landesmuseum Wiesbaden, group exhibition \u00ab4.0\u2013Vordemberge-Gildewart-Nomin\u00e9es\u00bb. Filmcredits: regie by Tatjana St\u00fcrmer, performed by Paula Dominici, choreography by Paula Dominici and Tatjana St\u00fcrmer, camera by Lukas Rehm, light by Tilmann R\u00f6diger, filmed at Villa Tugendhat, Brno, and Stoneworkshop by Gies Rupp, Hohenahr-Erda.<\/span><\/span><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 4,\r\n \"col\": 0,\r\n \"colspan\": 24,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 201,\r\n \"absolute_position\": false,\r\n \"frameOverflow\": \"right\"\r\n },\r\n {\r\n \"type\": \"img\",\r\n \"cont\": \"\/wp-content\/uploads\/2025\/10\/Installationview-TatjanaStuermer-Wiesbaden-MOTH25-03.jpg\",\r\n \"align\": \"top\",\r\n \"row\": 5,\r\n \"col\": 0,\r\n \"colspan\": 24,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 221,\r\n \"attid\": 669,\r\n \"sizes\": {\r\n \"full\": 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\"\/wp-content\/uploads\/2025\/12\/2025_MOTH-TatjanaSuermer550-512x288.png\",\r\n \"_265\": \"\/wp-content\/uploads\/2025\/12\/2025_MOTH-TatjanaSuermer550-265x149.png\"\r\n },\r\n \"w\": 1600,\r\n \"h\": 900,\r\n \"ar\": 0.5625,\r\n \"alt\": \"\",\r\n \"absolute_position\": false\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Mother of the House
<\/span>2025<\/span>
window installation<\/span><\/span><\/span><\/p>

As a graphic transposition, the onyx marble wall of modernist Villa Tugendhat materializes in the Hospitalhof Stuttgart.<\/span> <\/span>Installation view Hospitalhof Stuttgart, 2025. Duo exhibition together with Finja Sander, curated by Antonia Rittgeroth. Images by Finja Sander.<\/span><\/span><\/span><\/div>\",\r\n \"align\": \"onethird\",\r\n \"row\": 14,\r\n \"col\": 0,\r\n \"colspan\": 24,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 229,\r\n \"absolute_position\": false,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"img\",\r\n \"cont\": \"\/wp-content\/uploads\/2025\/12\/\u00a9FINJA-SANDER_Hospitalhof_Mother-of-the-House-2025-16.jpg\",\r\n \"align\": \"top\",\r\n \"row\": 15,\r\n \"col\": 0,\r\n \"colspan\": 24,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 231,\r\n \"attid\": 716,\r\n \"sizes\": {\r\n \"full\": \"\/wp-content\/uploads\/2025\/12\/\u00a9FINJA-SANDER_Hospitalhof_Mother-of-the-House-2025-16.jpg\",\r\n \"_1280\": \"\/wp-content\/uploads\/2025\/12\/\u00a9FINJA-SANDER_Hospitalhof_Mother-of-the-House-2025-16-1280x853.jpg\",\r\n 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Kitchen Scenes
<\/span>2025<\/span>
12\\\" LP<\/span><\/span><\/span><\/p>

KITCHEN SCENES contains two collaborative sound-works by Tatjana St\u00fcrmer together with Lukas Rehm<\/a> and Manuel S\u00e9kou<\/a> both of which tell grotesque scenes inside domestic spaces. This record is released on the occasion of the exhibition Medea at the Window<\/span> by Tatjana St\u00fcrmer at Kunststiftung Baden-W\u00fcrttemberg 2023\/24 and part of the \u00abartist vinyl series\u00bb. <\/span>Released May 5, 2025,\u00a0<\/span>mixed by Timm Roller<\/a>, art work by Tatjana St\u00fcrmer, produced by Bernd Georg Milla, Markus Milcke within the context of Kunststiftung Baden-W\u00fcrttember<\/a>g, released on Ghost Notes Records and pressed by Duophonic, edition of 300, listen to via Bandcamp<\/a>.<\/span><\/div>\",\r\n \"align\": \"top\",\r\n \"row\": 18,\r\n \"col\": 0,\r\n \"colspan\": 24,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 39,\r\n \"absolute_position\": false,\r\n \"stickytop\": null\r\n },\r\n {\r\n \"type\": \"img\",\r\n \"cont\": \"\/wp-content\/uploads\/2025\/06\/TatjanaStuermer-KitchenScenes-LP-01.png\",\r\n \"align\": \"top\",\r\n \"row\": 19,\r\n \"col\": 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Gro\u00dfe Margarete
<\/span>2025<\/span>
3D-printed + fired sand, plaster, earth minerals<\/span><\/span><\/span><\/p>

This installation explores the complex and fragmented legacy of Margarete Renner, also known as<\/span><\/p>

\u00bb<\/span>Die schwarze Hofm\u00e4nnin,\u00ab\u00a0a woman mythologized as both a monstrous figure and a proto-revolutionary heroine. Emerging from historical accounts of the 16th-century German Peasants\u2019 War\u2014often written by the victors\u2014Renner\u2019s image has shifted over centuries: from demonized rebel to socialist icon to feminist symbol. In this work, her figure, enlarged to a monstrous scale, has invaded the exhibition space, pressing through walls in fragmented forms. Etchings and drawings on her giant surfaces reflect the layered narratives projected onto her. She becomes a living archive, embodying history\u2019s distortions and silences.<\/span><\/p>

Produced with Kunsthalle Vogelmann Heilbronn<\/a>, curated by Marc Gundel and Angelina Balandin.<\/span><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 23,\r\n \"col\": 0,\r\n \"colspan\": 24,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 58,\r\n \"absolute_position\": false,\r\n \"stickytop\": null\r\n },\r\n {\r\n \"type\": \"img\",\r\n \"cont\": \"\/wp-content\/uploads\/2025\/06\/TatjanaStuermer-GrosseMargarete25.png-2.png\",\r\n \"align\": \"top\",\r\n \"row\": 24,\r\n \"col\": 0,\r\n \"colspan\": 24,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 163,\r\n \"attid\": 643,\r\n \"sizes\": {\r\n \"full\": \"\/wp-content\/uploads\/2025\/06\/TatjanaStuermer-GrosseMargarete25.png-2.png\",\r\n \"_1280\": \"\/wp-content\/uploads\/2025\/06\/TatjanaStuermer-GrosseMargarete25.png-2-1280x1705.png\",\r\n \"_1024\": 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Binding the Moment
<\/span>2024<\/span>
3000m copper chain, textile suits, perforamance ground at Ornamenta24, Pforzheim<\/span><\/span><\/span><\/p>

A wooden pavilion turned temporary chapel reinterprets traditional wedding elements\u2013bridal fashion, metal, and the role of the officiant\u2013to create a space that celebrates any type of relationship, not just romantic ones. Upon entering, a cascade of metal chains hangs from the ceiling, a collaboration between Diane Hillebrand, Tatjana St\u00fcrmer, and Black Forest-based chainmaker Binder-Gruppe. These chains symbolise connection, forming an ever-changeable web. Beneath them stretches a room-filling, wearable sculpture by Philipp Schueller, who worked with left-over suits and textiles from Digel.\u00a0<\/span><\/span><\/p>

The Binding Chapel is a space dedicated to celebrating all kinds of \u201cships\u201d\u2013\u2009relationships, friendships, kinships, and situationships. Here, visitors of all ages, backgrounds, and species, whether alone, together, or as a collective, are invited to step into the work and intertwine in a spiral, as a way of committing to their mutual relationship.<\/span><\/p>

Realized in collabroration with Diane Hillebrand<\/a>, <\/span>curated by Willem Schenk, <\/span><\/span>produced by Ornamenta24<\/a>, <\/span>installation view at Wildpark-Pavillon, Pforzheim, and with <\/span>performances within the chapel by Kasper Boosmanns<\/a>, Juliane Schmitt<\/a>, Lidewij Edelkoort<\/a>, Harald Gl\u00f6ckner and others. 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The House, the Body the Child
<\/span>2024 <\/span><\/span><\/span><\/p>

4.1-spatialsound<\/span><\/span><\/span><\/p>

The House, the Body, the Child\u2013My Corporeal, Cereal Phantasy works out of (my) archive. Its central questions is the knowledge economy and the question of who owns and exercises power over the knowledge created. The starting point for the installation is the 1:1 scale replica of the Memmingen Chinese Room from the previous exhibition. This representative room is overwritten by a new repeat wallpaper. Created in screen printing for the exhibition, it takes up the media technology of witch-hunting via the invention of letterpress printing and its possibility of endless reproduction and appropriates it as a self-determined new technology. Interspersed with numerous symbolic forms and plants from Art Nouveau and (as said) the old witches' gardens such as devil's cherry, wolfsbane and ergot, the ornamental-labyrinthine multi-plied space makes room for the figure that now lives in it for the duration of the ex-hibition via the 4.1. sound and spatial installation.<\/span><\/p>

Realized in collaboration with electronic musician and artist Manuel S\u00e9kou<\/a>, curated by Axel St\u00e4dter<\/a>, produced with <\/a>MEWO Kunsthalle Memmingen<\/a>, vocalist\u00a0Clare Michelle Tunney.<\/a> Installation view at Kunsthalle Memmingen, images: Carsten Eisfeld, Manuel S\u00e9kou and Tatjana St\u00fcrmer.<\/span><\/span><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 33,\r\n \"col\": 0,\r\n \"colspan\": 24,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 315,\r\n \"absolute_position\": false,\r\n \"stickytop\": null\r\n },\r\n {\r\n \"type\": \"img\",\r\n \"cont\": \"\/wp-content\/uploads\/2025\/06\/05_MCCP_MEWO-Kunsthalle_BildCarsten-Eisfeld-BEARB-3000.png\",\r\n \"align\": \"top\",\r\n \"row\": 34,\r\n \"col\": 0,\r\n \"colspan\": 24,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 304,\r\n \"attid\": 628,\r\n \"sizes\": {\r\n \"full\": \"\/wp-content\/uploads\/2025\/06\/05_MCCP_MEWO-Kunsthalle_BildCarsten-Eisfeld-BEARB-3000.png\",\r\n \"_2560\": \"\/wp-content\/uploads\/2025\/06\/05_MCCP_MEWO-Kunsthalle_BildCarsten-Eisfeld-BEARB-3000-2560x1440.png\",\r\n \"_1920\": \"\/wp-content\/uploads\/2025\/06\/05_MCCP_MEWO-Kunsthalle_BildCarsten-Eisfeld-BEARB-3000-1920x1080.png\",\r\n \"_1280\": \"\/wp-content\/uploads\/2025\/06\/05_MCCP_MEWO-Kunsthalle_BildCarsten-Eisfeld-BEARB-3000-1280x720.png\",\r\n \"_1024\": \"\/wp-content\/uploads\/2025\/06\/05_MCCP_MEWO-Kunsthalle_BildCarsten-Eisfeld-BEARB-3000-1024x576.png\",\r\n \"_768\": \"\/wp-content\/uploads\/2025\/06\/05_MCCP_MEWO-Kunsthalle_BildCarsten-Eisfeld-BEARB-3000-768x432.png\",\r\n \"_512\": \"\/wp-content\/uploads\/2025\/06\/05_MCCP_MEWO-Kunsthalle_BildCarsten-Eisfeld-BEARB-3000-512x288.png\",\r\n \"_265\": \"\/wp-content\/uploads\/2025\/06\/05_MCCP_MEWO-Kunsthalle_BildCarsten-Eisfeld-BEARB-3000-265x149.png\"\r\n },\r\n \"w\": 3000,\r\n \"h\": 1687,\r\n \"ar\": 0.5623333333333334,\r\n \"alt\": \"\",\r\n \"absolute_position\": false,\r\n \"frameOverflow\": \"right\"\r\n },\r\n {\r\n \"type\": \"video\",\r\n \"cont\": \"https:\/\/i.vimeocdn.com\/video\/2010857518-551cc2a088300193d6f3101ad2929dc18d0883502f72fbd8e801ca2e3d47131a-d_295x166?region=us\",\r\n \"align\": \"top\",\r\n \"row\": 35,\r\n \"col\": 0,\r\n \"colspan\": 24,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 335,\r\n \"iframe\": \"