The “castle in the air” is a phenomenon that lies somewhere between innovation and genius on the one hand, and wishful thinking, good intentions, megalomania, and failure on the other. According to popular belief, the architects of such castles have quite literally lost touch with reality: their projects are too large, too costly, technically unfeasible, or simply unheard of. Yet real construction projects, too, can develop into (temporary) pipe dreams when their realization entails escalating costs and timelines. Evidence of this can be found in construction sites transformed into biotopes or in unfinished investment ruins that, often reduced to skeletal structures, have turned from castles in the air into haunted houses. Nevertheless, such visions and their visionaries should not be dismissed lightly. Their plans, dreams, fantasies, and cloud-cuckoo-lands hold tremendous potential, and it is often precisely the attempt to bring the seemingly impossible into being that gives rise to something new. It is therefore high time to dedicate a multifaceted exhibition to castles in the air and their architects, approaching the topic from perspectives rooted in cultural studies, art, and playfulness. High as a Kite – Luftschlösser in Kunst und Wirklichkeit brings together artistic works that have overcome gravity: heavenly and airy architectures, artistic commentaries on gigantic construction projects, and fictitious projects driven by actionist impulses with Limbo Accra | Nándor Angstenberger | Markus Dorfmüller | Clemens Gritl | Christian Jankowski | Gordon Matta-Clark | Reiner Maria Matysik | Andrea Pichl | Thomas Ravens | Ursula Sax | Nomeda &amp; Gediminas Urbonas Curator Petra Stegmann All Photos: Ricardo Nunes

High as a Kite, Luftschlösser in Kunst und Wirklichkeit, Kunsthalle Wilhelmshaven, 2026

with Sandra Zuanovic The exhibition “Zustand Null” unites works by Sandra Zuanovic andNándor Angstenberger in which density and stillness become simultaneouslyeffective.Layer by layer the material grows, line upon line; paper on paper, with paper,from fabric and inked sugar cubes. These surfaces arise from continuousplacement, from repetition, from expansion. Rhythm structures drawing andobject, not as order, but as a persistent process.The works are expansive and intense; they fill the space through the multitude oftheir individual elements. And yet, within this density, a mental state opens up apoint of concentrated perception that is based not on reduction, but on continuity.Between repetition and silence, a “state zero” emerges, neither beginning norend, but a lingering in the present.

Zustand Null, Hilbert Raum, Berlin, 2026

Welcome to the world of the megalopolis, condensed, vertical, and visionary, an artistic exploration of the urban present, as well as of utopian ideas and possible futures in a world where the invisible boundaries between dream and reality begin to blur. The image of the city becomes a stage, a laboratory, and a mirror of a globalized world in which dreams of progress overlap with dystopian realities.

Megalopolis, Kunstverein raumimpuls, Waidhofen an der Ybbs, Austria, 2025

Somnium, 2025Mixed Media and polystyrene, approx. 95 x 55 x 63 cm Everyone dreams. For millennia, humans have grappled with their dreams. Dreams can be uplifting or burdensome. They can be powerful or burst like soap bubbles, in the nebulous realm of dreams, anything seems possible. The exhibition opens spaces for daydreams and night fantasies, for personal dreams of desire and shared utopias. It invites and encourages dreaming, in a time when it seems more important than ever to have dreams.Photos: 1 + 2 Rupert Pessl, 3 + 4 Dirk Dunkelberg

Träume, träumen....schlafend, wach & visionär, Burg Schallaburg, Austria, 2025

Atlas, 2024Mixed Media and polystyrene, approx. 600 x 220 cmcommissioned public art by Landratsamt Ravensburg

Atlas, comissioned public art, Landratsamt Ravensburg, 2024

Does a house have a soul?The Stephaneum in Bad Goisern looks like a staged backdrop for a doomsday film. A perfectly arranged mess, a choreography of objects left behind, at first seemingly incoherent, but each of these objects - no matter how small and insignificant - tells its own story. A search for traces begins, movement sequences that begun in the past, ended abruptly and were never completed, are taken up again. The cycle closes and the empty building, which over the years has been transformed into a vacuum of uneventfulness and insignificance, takes on a new function.&nbsp;Artists:Nándor Angstenberger (SR/DE), Alfredo Barsuglia (AT), Jacob Dahlgren (S), Mette Edvardson (NOR, BE), Marion Eichmann (DE), Analog Sonntag (DE), Olaf Holzapfel (DE), Katrina Neiburga (LVA), Sebastian Schmieg (DE)Curator: Gottfried Hattinger (AT) Works:Hat ein Haus eine Seele, 2024Mixed Media and found objects in the Stephaneum, approx. 550 x 450 cm

ANALOG! European Capital of Culture Bad Ischl Salzkammergut 2024, Austria, 2024

The art developments of the 20th century have shown that essentially any material can be the basis for an artistic work. Marcel Duchamp with his Ready Mades or the Italian Arte Povera have shown in a radical way that even objects and items that are far removed from art have aesthetic potential. However, it requires the creative skills of artists who give the everyday and the seemingly worthless a new form, transform them and thereby sharpen the audience&#39;s perception.Artists:N&aacute;ndor Angstenberger, Angela Ender, Michael Johansson, Hyunjeong Ko, Julia Miorin, Guido Weggenmann, Umut Yasat works:Victoria, 2019Mixed Media and two pairs of Nike sneakers, 197 x &nbsp;70 x 70 cm Till death do us a favor, 2023Mixed Media, polystyrene, porcelain figurine, 63 x 20 x 16 cm

Re.Use, Kunstmuseum Heidenheim at Schloss Hellenstein, 2024

Merkur, Mixed Media, diameter 420 cm, 2024&nbsp;Merkur is a major god and in roman religion and mythology, a god of financial gain, for travelers, boundaries, luck trickery and thiefs and in general the messenger of the gods. The facade of the outer beauty of this installation is an illusion of what we have, desire and what we obviously want to possess! We produce social waste, we buy trash and surround us with trash and we will still love this trash after all in self-denial till our downfall.

KUNSTSINGEN 2024 today >>> tomorrow, Kunstverein Singen with Kunstmuseum Singen, 2024

The Ahrenslab exhibition combines artistic, scientific, documentary and literary exhibits. It offers the opportunity to think about Ahrenshoop under the conditions of the Anthropocene, the new epoch in which human influences are massively changing the entire earth&#39;s surface and biosphere.What can artistic works and scientific observations tell us about the sometimes rapid changes in the place and its surroundings that we hardly notice in everyday life in Ahrenshoop? What role does each of us play personally in this? And what alternatives and future perspectives can be developed if we start to trust our imagination?Curator: Dr. Asmus TrautschArtists:Nand&oacute;r Angstenberger | Rabea Dransfeld | J&ouml;rg Finus | Klara Fries | Susanne Gabler | Felix Maximilian Galow | Irma Goerschel | Deborah Gross | Johanna Herrmann | Marie-Luise Holl&auml;nder | Felix Jess | Daniel Kalafata-M&uuml;ller | Pia-Catherine Lemm | Anne Martin | Karl Martin | Maik Schrainer | Ulrich Schneider | Marvin Schwenk | Annemarie Selleng | Hannah Steinbrecher | Lennart Sturm | Dr. Asmus Trautsch | Maria Trischberger | Arina TsarevaPhotos: Ren&eacute; Kafka

Ahrenslab, Neues Kunsthaus Ahrenshoop, Ahrenshoop, 2023

The exhibition project AMBASSADORS OF NATURE at the CLB gallery started already as a collaborational project between Save the Future (a performative think tank with Andrea Tietz and Nicole Oder) and me as a visual artist last year early summer. After first meetings we exchanged experiences and examined our intersections and our long journey began. Our goal to combine an analogue approach through visual art and merge into a digital world was accompanied with many whys and hows especially to show the main emphasis of the threatened fragile world of biodiversity. After having more unanswered questions as solutions the A.I., with ChatPGT3 was the main and last missing link to combine all components and &bdquo;it&ldquo; gave answers. After this the project took shape and started to develop in the direction we wanted to. It was also my first approach and experience as a visual artist with the A.I. and it was fascinating to use it as tool. First I introduced myself formally to the A.I. and asked ChatPGT3 how a sculpture could look like in a collaboration between Save the Future and me. The A.I. gave an answer, and we started a dialogue with details and intentions about this sculpture and the initial idea of a &bdquo;A tree&ldquo; was born. The first step was done, the using of ChatPGT3 was successful and i finished the proposed sculpture &bdquo;A tree&ldquo;. The next step was to introduce &bdquo;A tree&ldquo; the analogue version again to the A.I., and then the digital artist Daniel Kalafta-M&uuml;ller took over from this point and generated about 150 new versions of &bdquo;A tree&ldquo; through the A.I., and developed &quot;A.I. tree&ldquo;. So the cycle submerging into the A.I is closed and the result is on view till May 29th, 2023 at the CLB gallery at Moritzplatz, Aufbauhaus in Berlin. A tree, 2023Mixed Media, organic materials, industrial made materials, 140 x 80 x 110 cm other artworks: Robin, 2003Mixed Media, 232 x 102 x 45 cm&nbsp; 4093, 2011Mixed Media on MDF, 176 x 70 x 65 cm Sorted material archive of unused collected materials between 1992 - 2010&nbsp; Hyperion, 2016Mixed Media and polystyrene, 200 x 150 x 27,5 cm

Ambassadors of Nature, CLB Gallery, Berlin, 2023

Wenzel Hablik&rsquo;s crystalline architectural utopias are juxtaposed with N&aacute;ndor Angstenberger&rsquo;s fictional utopian landscapes. Separated by 90 years, Wenzel Hablik, born 1881 in Br&uuml;x, former Bohemia, N&aacute;ndor Angstenberger was born in the former Yugoslavia in 1970. Both artists have developed their own approaches to creating different life worlds. Angstenberger, who now lives in Berlin, calls himself a world builder and playfully processes found materials into highly complex structures. Comparing both artists beside their visual similarities there is a common content in finding and proposing a new ideal non-violent Utopia, particulary Wenzel Hablik&acute;s vision, built on the crystal architecture as a trailblazer for a global and non-violent society. Paintings by Wenzel Hablik:&nbsp;&bdquo;Die Wolke&ldquo; 1910&bdquo;Meereszauber&ldquo; 1917&nbsp;&bdquo;Cyclus utopische Architekturen, Flugzeugt&uuml;rme, Silos, K&uuml;nstlerwohnungen&ldquo;&nbsp;1921

Lebenswelten - Wenzel Hablik und Nándor Angstenberger, Grosse Kunstschau Worpswede, 2023

SPHINX, Mixed Media, approx 850 x 320 cm, 2023Seeing myself playing a role as an actor sitting in a ridiculous opulent leather chesterfield armchair smoking a cigar (I don&acute;t smoke) and leaning arrogantly smug into it, and thinking out loud how generously I rule the world through oppression, exploitation, blackmail, torture and corruption. Yes, the world should be grateful for having me, gracing mother earth with my presence. History repeats itself, advanced cultures, dynasties and several not to overlooked powerful empires got extinguished over centuries from the same earth we live right now as a society in it, a fighting survivor candidate who will got down the same path as every cultivated society done it before, crushed by its&acute; own presence.

Sphinx, Künstlerhaus Dortmund, 2023

APEX PREDATOR&nbsp;The exhibition Apex Predator shows important aspects of today&rsquo;s world in the Anthropocene era: the epoch in which the planet&rsquo;s balance is being altered by human greed to such an extent that it&rsquo;s becoming a threat to ourselves. Apex Predator is a top predator at the top of the food chain, without any natural enemies of its own. The human has developed into this predator, the master of all processes, determined to beat even death himself. With a self-proclaimed right to command and conquer natural laws and resources for his own needs, the consequences are increasingly disastrous. Living in a world that witnesses the Frankenstein Effect, where our own creations start turning against us, we currently witness profound changes in our environments, ecosystems and social models. And if humans are the creators, who is actually the monster? While we are currently in the safest period in history, statistically seen, we are surrounded by a declining planet with looming threats like AI, biogenetics and massive extinction. Are we really solving problems or are we just chopping off one head out of the Lernaean Hydra, having two growing out instead? So how can we find a way to talk about these topics in more than just political terms, but also in artistic means and enhance reflection?&nbsp;curated by Vanessa SouliwithNadina Baldow, Kristian Askelund, Ulrike Buhl, Claudia Chaseling, Elena Alonso Fernandez, Kennedy Swan, Michael Lamoller, Jazoo YangPhotos: All by Nadine Baldow

Apex Predator, Kunsthalle Brennabor, Brandenburg Havel, 2023

Photos: all by Thomas Bruns

Weltenbau, studio im HOCHHAUS, Berlin, 2023

Terra Incognita, Galerie Weingarten, 2023

with Marcell Naubert, Collage and Drawing

Häuserfassaden, und andere Irrtümer, Lycra Raum, Hamburg, 2022

6 artists are invited by other six previous exhibited artists at Poolhaus Blankenese. The system of nepotism is intentionally allowed without any influence of curators or any saying by the Poolhaus Blankenese Foundation. At the end of the exhibitions of all 6 artists, 3 artists will receive the "Swing By" Art Prize funded by the Poolhaus Blankenese Foundation.

Swing By Six, Poolhaus Blankenese, Hamburg, 2022

Die Blaue Nacht, Historische Felsengänge Nürnberg, 2022

GAWINA, und andere Experimente, Ludwig Museum Koblenz, 2021

with Marcell Naubert

One of the basis of human beings is making mistakes, because out of mistakes we learn essential techniques of mastering daily life and for our whole lifespan in general. 

But as we know life is sometimes complicated, mankind has a comfortable side, even shows some signs of laziness, that is why we invented machines for helping us. 

A computer is as good as a programmer who created the computer software, and to quote my brother who is a programmer: “a computer never  makes mistakes, only humans are making mistakes”. Again a lesson learned. Even more, evolution aside, it makes us helpless when suddenly a System Error Code shows up on the screen and no uncontrollable hacking on the keyboard seems to solve the problem. But how lucky we are, we have Google. Equipped with the wisdom of a god and faster than the speed of light. But how far has it come? Is it a failing of our technology or a failing of our mankind? 

The exhibition “Error Code” at the Deiglan Gallery, a first time collaboration with Marcell Naubert shows another side of this development, experiencing and making mistakes are a necessity to human beings, beauty and sensitivity lies in it and should be appreciated regardless the direction mankind is heading right now, to irrelevant perfection. 

Error Code, Deiglan Gallery, Akureyri, Iceland, 2021

Mixed Media and wood, 85 x 155 x 177 cm

Haus des Rundfunks is an iconic building build by the german architect Hans Pölzig in 1931 and is the headquater of the german regional broadcaster RBB for Berlin and Brandenburg. 



Das Modell von einem Modell, Haus des Rundfunks Berlin, 2021

0001, furniture and wool, 750 x 420 x 300 cm 
with Ross Alexander-Payne as a member of Salon Oblique and his work with augmented reality 


Formely known as a bear pit founded 1939 and till 2015 the last remaining bear called Schnute died of natural causes. In 2017 the bear pit got transformed into an art space as one of the  municipal galleries of Berlin. 

Photos: 9, 10 Ross Alexander-Payne







Cat´s Cradle, Bärenzwinger Berlin, 2021

Exhibiton “Berliner Zimmer | Homecoming Artists” at Schloss Achberg, 2020
with the overall installation Apokalypse Melancholia, 2020



Berliner Zimmer | Homecoming Artists, Schloss Achberg 2020

approx. 8500 m wool, 1400 x 800 x 650 cm, 2019 
Installation for a concert for New Music for the Ensemble Intercontemporain, Philharmonie de Paris, France

Stage Director: Alexander Fahima
Music: Matthias Pintscher - Scelsi, Robin, Lachenmann, Cattaneo, Pintscher


between categories, Philharmonie de Paris 2019, France 

Atlas Futur, Mixed Media and various objects 2016 -2020, 1100 x 210 cm, 2020 
Exhibition at Städtische Galerie Karlsruhe “(Un)endliche Ressourcen? Künstlerische Positionen seit 1980” 

(Un)finite ressources? Artistic positions since 1980

The effects of today‘s consumer society on the environment are omnipresent. Whether we experience them with our own senses and discuss them in everyday life, or whether we can follow the reports on them in the media day after day. They talk about climate change, the scarcity of resources or the littering of the seas. There are warnings about the consequences for health as well as economic and social ones. The call for a rethink has long been heard. The concept of the Anthropocene and with it the idea of a new age of the earth, decisively influenced by humanity, is booming. What role does art play in this context, which repeatedly claims to have a part in socially relevant debates such as this?

(Un)endliche Ressourcen? Künstlerische Positionen seit 1980, Städtische Galerie Karlsruhe, 2020

approx. 3700 m wool and tent herings, 1500 x 4000 x 650 cm 
Artistic position on the occasion of the performance “Ring des Nibelungen” at the theatre Minden

Wagnis.Wagner, Glacis Park Minden, 2019

Bildhauerei am Bodensee I. Plastik. Objekt. Skulptur., Kunstmuseum Singen, 2018

Positions Art Fair, Airport Tempelhof Berlin, 2018

Drehmoment, Production Art Festival, Städtische Galerie Bietigheim-Bissingen and company Konzelmann, 2018

About Edit your Future for BB8: Stability, Structure and Strength

The last days I thought many times about the definition of homeland. I thought about the many times I´ve had to change my biography. I started with Yugoslavija, then turned it after the collapse of Yugoslavija into EX-Yugoslavija as a casual expression, meaning what did you to do me and to my friends forcing them to flee out of the country. Years later into Serbia-Montenegro, and today as a matter of fact, Serbia. The Country I was born in, the country i abandoned. I moved with my mother to Germany when I was 3 years old. 
I remember the death of Tito, president and leader of Yugoslavija as breaking news on german television and a decade later this country started to fell apart into pieces. As it felt not already complicated enough, with my hungarian background and with my german father, nothing much was left in the way to remember where i was coming from, only my memories of a short happy childhood. 
This work Karosmetic was made originally in 1999, and i exhibit at BB8 a new varied, a smaller version of it. This piece symbolizes stability, structure and strength, all attributes i missed in the time of big changes. It is a wildcard for all the people who lost their homes, their way back home and giving them a new opportunity to find a new home as i found mine. 

Edit Your Future, BB8 Bucharest International Biennial for Contemporary Art 2018, Romania

The wall mural turns into an Atlas, an image of a fictional, but also a real journey of exploring.

Photos: Dirk Uebele

Voyager, Kunstverein Bellevue-Saal Wiesbaden, 2017

approx. 8000 m wool and furniture of Hellerau Werkstätten Dresden, 450 x 560 x 750 cm

SCALE springhouse Hellerau – Europäisches Zentrum für Künste Dresden, 2017

Wool and tent herings, 600 x 1050 x 750 cm

Interim Kulturhandlungen Biosphärengebiet Schwäbische Alb, 2017

Hyperion, ZeppLab Zeppelinmuseum Friedrichshafen, 2016

Fantastisch! Vom Innersten der Bilder, with Katrin Pieczonka, Lennart Holzborn and Björn Siebert, Stadtgalerie Kiel, 2015

823, approx. 8000 m wool and furniture from the collection of the Hoenes Foundation, 350 x 350 x 800 cm 

Photos: Henry M. Linder 

Kunst Oberschwaben 20. Jahrhundert – 1970 bis heute, Museum Villa Rot Blaubeuren, 2014

762(I) and 762(II), approx. 12000 m wool and furniture, 350 x 600 x 900 cm

Photos: Daniel Ammann

HÄUTUNGEN, Schlossmediale Schloss Werdenberg 2016, Switzerland 

Blickwechsel Ahrenshoop - Gestern und Heute, Kunstmuseum Ahrenshoop, 2014

Photos: 1, 2, 3, 4, 6 & 9 Dirk Dunkelberg 

Zu Gast bei into, with Toshifumi Hirose, Galerie Susanne Burmester, Berlin, 2011

Mixed Media and 12 platforms between 60 cm up to 230 cm of height, 300 x 400 cm
Collection exhibition Hellwach Gegenwärtig at Museum Marta Herford

Bis Ans Ende Der Welt, Museum Marta Herford, 2009

with Christel Fetzer and Galerie Susanne Burmester

Preview Berlin - The emerging Art Fair, 2009

Favoritensterben, The Coop Galerie Susanne Burmester, 2009

with Lucrecia Troncoso (RA) and  Gabriel Sierra (CO) 

Fantasma = Phantom or Ghost
Entering a new and unknown place for the first time is connected with an extraordinary sharpening of the senses, whispers mutate into resounding laughter though in Argentina is whispering not a national habit.
The knowledge to stay only for two months at El Basilisco made my preparations for the residency easy. As usual in a rush to the airport in Berlin, I even forget my scissors but arrived with the well prepared personal will to break my artistic habit and working procedure, I decided to take this stay as an artistic field of experiments.
Preparing two pieces of work, both were growing visibly day by day organically throughout my stay and both pieces will likely end with what nature instincts predict, they disappear from earth...(though the wall drawing will be covered over the years layer by layer with white paint)

Fantasma, El Basilisco Buenos Aires, Argentina, 2007

with artist Martin Walde (A)
Organisation: Casper de Vries, Curator: Roland Nachtigäller, Director Städtische Galerie Nordhorn and Jan van Lenteren, Director Stichting Kunstwegen Niederlande