Opening hours
Cog hall: daily from 10 am to 6 pm
Ships: daily 10 am to 5:45 pm
3G+Mask obligation
how to reach us
Deutsches Schifffahrtsmuseum
Hans-Scharoun-Platz 1
D-27568 Bremerhaven
Scientific curator
Research field, research discipline, research project
Research shipping, history of marine research, science communication
2020-2021 | Curator, Antarctic Artists and Writers Collective (AAWC) |
2010-2021 | Curator/Outreach Consultant, Comp. Research in Ice and Ocean Systems group Oden Institute for Comp. Engineering & Sciences, The University of Texas at Austin, TX, USA |
2018 | Dr. phil. (Art History), Justus Liebig University Gießen |
2014-2016 | Curatorial Associate, Architecture, Design and Photography Collections, MIT Museum, Cambridge, MA, USA. |
2012 | Freelance curator, Kunstraum B, Kiel |
2010-2013 | Doctoral Fellow and Lecturer, DFG Research Training Group "Transnational Media Events"/FB History/Cultural Studies, Justus Liebig University, Gießen |
2010 | Master of Arts, Cultural Studies, History of Art and Russian Studies, University of Leipzig |
2007-2008 | Student. Assistant, Project Image & Confession, Humanities Center History and Culture of East Central Europe (GWZO), Leipzig |
2005-2006 | Study abroad, St. Petersburg State University, Russia |
2004-2007 | Internships at Deutsche Guggenheim in Berlin; the art museum "Kloster Unser Lieben Frauen" in Magdeburg; the German-Russian Exchange in St. Petersburg, Russia and the "Central Registry of Information on Looted Cultural Property 1933-1945" in London, Great Britain. |
Monograph
Fotografische Bilder des Klimawandels. Strategien und Bildformeln, Frankfurt am Main/New York 2019.
Essays
„Apocalypse ... later. Der tipping point des Klimawandels in der visuellen Inszenierung“, in: Nanz, Tobias/Pause, Johannes (Hg.), Politiken des Ereignisses. Mediale Formierungen von Vergangenheit und Zukunft, Bielefeld 2015, S. 269–295.
„How Photography Matters. On Producing Meaning in Photobooks on Climate Change“, in: Schneider, Birgit/Nocke, Thomas (Hg), Image Politics of Climate Change. Visualizations, Imaginations, Documentations, Bielefeld 2014, S. 273–298.
„Stëb, Idiotie, Provokation? Die künstlerische Strategie der Blue Noses in der Diskussion“, in: Goelz, Christine/Kliems, Alfrun (Hg.), Spielplätze der Verweigerung. Gegenkulturen im östlichen Europa nach 1956, Köln – Weimar – Wien 2014, S. 317–336.
„Künstlerischer Ausdruck, Dokumentarischer Eindruck: Wolfgang Webers Bildband Barcelona“, in: ScholzHänsel, Michael (Hg.), Spanien im Fotobuch. Von Kurt Hielscher bis Mireia Sentis. Leipzig 2007, S. 69–80.
„Adequate Earth: Artists and Writers in Antarctica”, aawcollective.com, 01 – 05/2021 (Curator)
„Exploring the Arctic Ocean”, Visual Arts Center, The University of Texas at Austin, 09 – 12/2018 (Curator)
„Architecture at the End of the Earth. William Craft Brumfield’s Photographs of the Russian North”, Wolk Gallery, MIT, 09/2016 – 01/2017 (Curator)
„Photographing Places. The Photographers of Places Journal, 1987 - 2009”, Kurtz Gallery, MIT Museum, Cambridge, MA, 01 – 08/2015 (Curatorial assistance)
„Daguerre’s American Legacy. Photographic Portraits from the Wm B Becker Collection”, Kurtz Gallery, MIT Museum, Cambridge, MA, 04/2014 – 01/2015 (Curatorial assistance)
„The Blue Noses (RUS)”, Kunstraum B, Kiel, 09/2012 (Curator)
„Axel Schön: Hinterm Vorhang”, Kunstraum B, Kiel, 04 – 05/2012 (Curator).
National Science Foundation, „Understanding Arctic System Change”, #1603903, 2016 – 2021.
Visiting Fellow, Pardee Center for the Study of the Longer-Range Future, Boston, 09/2011.
DFG-Doctoral Fellowship, 05/2010 – 04/2013.
DAAD-Scholarship, Research Residency, State Center for Contemporary Art, Moscow, 10 – 12/2008.
Scholarship holder of the „Deutschen Studienstiftung“, 02/2008 – 10/2009.
„GoEast“-Scholarship of the DAAD, Academic Year, St. Petersburg State University, Russia, 2005 – 2006.
Cog hall: daily from 10 am to 6 pm
Ships: daily 10 am to 5:45 pm
3G+Mask obligation
Deutsches Schifffahrtsmuseum
Hans-Scharoun-Platz 1
D-27568 Bremerhaven
