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100 Mar(x)k

The Biennial of Care - Chemnitz

What do artistic projects leave behind and how to provide care for a
sustainable after life?

The Biennial of Care is a nomadic curatorial project that settles, each time, into a different city — tracing what remains once the spotlight of a major cultural event moves on.

In Chemnitz, we conduct a curatorial research project that engages with the resonance and effects of the year of the European Capital of Culture. We specifically focus on the aftermath for the local cultural scene, a field that we as cultural workers can closely relate to.

In our research phase, from February to June 2026, we met with cultural actors in Chemnitz and with organizers of the Capital of Culture. In the artistic phase, in August, three artists conduct actions in public space, engaging with questions that we extracted from our research.Nadja Kracunovic explores exhaustion. What does the exhausted body tell us — not only about what has passed, but also about what could emerge anew? Christiane Limper brings her own experience of a failed bid from her hometown of Flensburg. What should not be lost after winning a European Capital of Culture title? Ryts Monet designs an alternative currency to playfully negotiate the value of (cultural) work. What value emerges in the relation between artistic production, labour, time, and visibility?

After Chemnitz, The Biennial of Care will continue to travel to other cities, carrying these questions — and the practices developed here — into new contexts.

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Art Projects

100 Mar(x)k

Artists

(Flensburg), geb. 1976, hat an der Kunstakademie Düsseldorf studiert, wo sie Meisterschülerin bei A.R. Penck war. Neben Graphischen Arbeiten hat sie vor allem partizipative Projekte in öffentlichen Räumen entwickelt. Die Künstlerin befasst sich mit Themen, die die Menschen bewegen, oft aber unterhalb der Wahrnehmungsschwelle des öffentlichen Lebens stattfinden. In ihren partizipativen Projekten schafft sie Gelegenheiten zum Austausch im öffentlichen Raum. Sie lädt ein, sich zu Freiräumen zu bekennen, die man sich gönnt oder Fehlkäufe auszutauschen, sie arbeitet im ländlichen Raum und hat im Flensburger Rathaus ein Büro eingerichtet, um die dort integrierte Morseanlage als Kommunikationsplattform neu zu beleben. Eine besondere Qualität von Christiane Limper’s Arbeit ist, dass sie es schafft, mit ihren vermeintlich einfachen Aktionen Menschen unterschiedlichster sozialer Welten zu erreichen. Die Ehrlichkeit und Verletzlichkeit ihrer Arbeiten passt besonders zum Anspruch der Biennial of Care, dem Übersehenen nachzugehen. Limpers aktuelles Projekt „Rumhängen“ ist eine niederschwellige Einladung, Ablenkungen zu entgehen und sich für das Wesentliche Zeit zu nehmen. Sie setzt sich auf einen Klappstuhl und animiert zum bewussten Rumhängen als Verweigerung und Selbstermächtigung. Aufbauend auf dieser Idee wird sie in Chemnitz Freiräume und Leerstellen nach dem Kulturhauptstadtjahr erkunden. https://christianelimper.wordpress.com
Ryts Monet
Enricomaria De Napoli (Ryts Monet), born in Bari in 1982, lives and works in Vienna.

He studied at the University IUAV of Venice, where he graduated with a BA in Visual Arts and specialized in Visual Communication through the MA program. In 2022, Ryts Monet became a regular member of the Vienna Secession.

His artistic research focuses on the production of images as a means of exploring cultural frictions, monuments, and symbols of power. He is particularly interested in contemporary and late 20th-century history, with a focus on the expansion and crisis of historical ideologies.

His practice often incorporates pre-existing materials such as postcards, stamps, banknotes, as well as digital content, newspaper articles, and other found objects. https://rytsmonet.eu
Nadja Kracunovic (b. Nađa Kračunović, 1996, Serbia) is an interdisciplinary artist based in Berlin. Working across performance, visual media, and theatre forms, she explores the female* body as a space of negotiation — moving through systems of care, control, and displacement. Reviving public spaces, she brings fictional characters to life or invites real protagonists into her narratives. Her practice employs spoken word, applied text, documentation, humor, and poetry, drawing from diaries, folk tales, family histories, and intimate encounters.

She lives with a relapsing, neurological rollercoaster of multiple sclerosis, adores purple, and carries a whole forest in her mouth when pronouncing the Serbian letter “š.”

Her international exhibition and performance practice includes the Museum of Contemporary Art Skopje, documenta 15 in Kassel, and Kunstsammlungen Chemnitz. She has participated in numerous residencies, including CRL – Central Elétrica (Porto, Portugal), DAAD Heritage for Communities (Luxor, Egypt), and Freie Radikale at Floating University (Berlin, Germany). She is a recipient of multiple art grants and mobility programs.

In her pedagogical and mentoring practice, she works with voice, performance, and experimental artistic strategies. She runs the long-term workshop How to Perform a Scream?, turning the voice into a tool of resistance, release, and collective imagination. Nadja co-founded the mobile multimedia institute Crying Classroom and performs with the interdisciplinary ensemble Don’t Worry, It’s Out of Control︎︎︎.

Nadja is the creator of Sick Girl* Strategies.  https://nadjakracunovic.com

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