www.saracristinamoser.de

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	<title>www.saracristinamoser.de</title>
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	<pubDate>Wed, 15 Jan 2025 17:58:18 +0000</pubDate>
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		<title>Studio Sara Cristina Moser</title>
				
		<link>https://saracristinamoser.de/Studio-Sara-Cristina-Moser</link>

		<pubDate>Wed, 15 Jan 2025 17:58:18 +0000</pubDate>

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</description>
		
	</item>
		
		
	<item>
		<title>ENERGY: Redistributing Power and Taming Consumption</title>
				
		<link>https://saracristinamoser.de/ENERGY-Redistributing-Power-and-Taming-Consumption</link>

		<pubDate>Fri, 15 Nov 2024 16:36:36 +0000</pubDate>

		<dc:creator>www.saracristinamoser.de</dc:creator>

		<guid isPermaLink="true">https://saracristinamoser.de/ENERGY-Redistributing-Power-and-Taming-Consumption</guid>

		<description>
	ENERGY: Redistributing Power and Taming Consumption&#38;nbsp;

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	Ausstellungsidentität für die FOTODOK x FUTURES Ausstellung „ENERGY: Redistributing Power and Taming Consumption“. Diese von FUTURES unterstützte Ausstellung untersucht die globalen Energiekrisen – ökologische, soziopolitische, wirtschaftliche und humanitäre –, die sich sowohl auf die Menschen als auch auf die Umwelt auswirken. 
Mit Arbeiten von Antonio Guerra, Dávid Biró, Hiền Hoàng, Marta Pinto Machado, Tanja Engelberts, Umberto Diecinove, Yana Kononova und Yana Wernicke bietet die Ausstellung verschiedene Perspektiven, von der Zerstörung durch Krieg und Extraktivismus bis hin zu Heilung und Solidarität. 
2023 wurde die Ausstellung, die auf einer offenen Ausschreibung von FUTURES basiert, bereits im Robert Capa Contemporary Photography Center und auf PhotoIreland gezeigt. 
Die Ausstellung ist vom 1. November 2024 bis zum 2. Februar 2025 im FOTODOK zu sehen.&#38;nbsp;Kurator: Daria Tuminas Produktion: Eleonora Schianchi, &#38;amp; FOTODOK team Design: Studio Sara Cristina Moser Übersetzung und editing: Felix van de Vorst, Hannah Vernier, and George H. King


	Exhibition identity for the FOTODOK x FUTURES exhibition ENERGY: Redistributing Power and Taming Consumption. The exhibition explores the ecological, socio-political, economic, and humanitarian energy crises that both human beings and non-human entities face today. But at the same time it reminds us that energy is seen – somewhat paradoxically – as the power we require to bring change to the world. It serves as a catalyst for vitality, creativity and strength. It brings people together, making us socially active and able to help one another, as well as allowing us to react to ecological and social and political emergencies.Featuring works by Antonio Guerra, Dávid Biró, Hiền Hoàng, Marta Pinto Machado, Tanja Engelberts, Umberto Diecinove, Yana Kononova, and Yana Wernicke, the exhibition offers diverse perspectives, from the destruction of war and extractivism to healing, and solidarity.Based on a 2023 open call by FUTURES, the show was previously presented at the Robert Capa Contemporary Photography Center and PhotoIreland. FOTODOK hosts its final presentation.The exhibition is open for public from the 1st of November 2024 till the 2nd of February 2025. Curator: Daria Tuminas 
Production: Eleonora Schianchi, &#38;amp; FOTODOK team 
Design: Studio Sara Cristina Moser&#38;nbsp;
Translation and editing: Felix van de Vorst, Hannah Vernier, and George H. King. 

 
</description>
		
	</item>
		
		
	<item>
		<title>Grounding. Stories of Migration</title>
				
		<link>https://saracristinamoser.de/Grounding-Stories-of-Migration</link>

		<pubDate>Mon, 14 Oct 2024 14:24:45 +0000</pubDate>

		<dc:creator>www.saracristinamoser.de</dc:creator>

		<guid isPermaLink="true">https://saracristinamoser.de/Grounding-Stories-of-Migration</guid>

		<description>
	Grounding – Stories of Migration

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	Entwicklung und Gestaltung der Ausstellungs Identität für die FOTODOK-Ausstellung Grounding – Stories of Migration im Rahmen des BredaPhoto Festivals 2024, das vom 13. September bis zum 3. November 2024 läuft. 
Die Ausstellung zeigt Arbeiten von Thana Faroq, Hanna Hrabarska, Sebastian Koudijzer i.c.w. Tyler Koudijzer, Marwan Magroun, Kevin Osepa, Giya Makondo-Wills und Nael Quraishi. 
Grounding – Stories of Migration präsentiert Werke von sieben Künstlern, die Geschichten der ersten Generation von Migranten erzählen - von Menschen, die aus freien Stücken oder aufgrund von Umständen in die Niederlande kamen. Diese Werke spiegeln die Prozesse der diasporischen Heimatfindung und der Identitätsbildung wider: beides sich ständig verändernde Bestrebungen für die Entwurzelten. Aufgespalten in Teile oder gefangen zwischen Vergangenheit und Gegenwart wird der Drang, ein neues Gefühl von Heimat - und ein neues Selbstverständnis - zu definieren, stärker denn je.
Nael Quraishis This Is Home After All spielt in den Niederlanden und zeigt eine Reihe subtiler Beobachtungen aus dem Wohnzimmer des Künstlers. Beim Blick aus seinem Fenster erfasst Quraishi die Kleidung, Gesten, Geräusche und Gerüche, die an seine Geburtsstadt Karatschi erinnern, und hält Fragmente in Text und Bild fest. 

In The Sugarcoated Venture reisen die Brüder Tyler und Sebastian Koudijzer mit ihren javanischen Großeltern in ihr Geburtsland Surinam. Sie besuchen mehrere Erinnerungsorte, darunter die Überreste der Sugar Company Mariënburg, und denken über die Auswirkungen des Kolonialismus auf die Reise ihrer Familie nach. 
An anderer Stelle enthüllt Thana Faroqs How shall we greet the sun das komplexe Gefühlsleben junger weiblicher Flüchtlinge in den Niederlanden, einschließlich der persönlichen Geschichten der Künstlerin selbst. 
Marwan Magrouns Intimacy verweist auf eine Sprache der engen Verbundenheit unter Migranten der ersten Generation. 
In My Mom Wants to Go Back Home von Hanna Hrabarska dokumentiert die Künstlerin einen Umzug von der Ukraine in die Niederlande, den Wunsch, nach Hause zurückzukehren, die Unmöglichkeit, dies zu tun, und die Erfahrung, sich allmählich in einem anderen Land einzuleben. 
Kevin Osepa arbeitet mit der mündlich überlieferten Familiengeschichte und der Mythologie im Herzen von Curaçao, indem er Menschen und Geister, die Realität der Straßen und häusliche Gegenstände und Rituale miteinander verbindet. Giya Makondo-Wills' A Neighbourhood schließlich befasst sich mit der Dynamik der Migration in die Niederlande und untersucht, wie Diskriminierung und Rassismus die Gesellschaft durchdringen und alles von rechtlichen Verfahren bis hin zu zwanglosen Nachbarschaftsgesprächen prägen. Letztlich bieten diese Gefühle einen feindseligen Hintergrund für jedes neue „Willkommen“. Als Antwort auf die Fragen, die das niederländische Einwanderungssystem formell stellt, geht Giya Makondo-Wills in eine ähnliche Richtung und stellt einige eigene Fragen: „Sind die Niederlande ein Ort für mich? Bin ich sicher? Darf ich diesen Ort in Frage stellen? Muss ich so werden wie du, um bleiben zu können? Welche Werte soll ich beibehalten und welche magst du nicht? Denkst du manchmal: Warum bin ich hier?“
Durch einen offenen Aufruf und mehrere Auftragsarbeiten begann FOTODOK 2022 mit der Arbeit an Grounding - Stories of Migration. Seitdem hat sich die politische Landschaft in den Niederlanden stark verändert. Bei den Parlamentswahlen 2023 wurde eine rechtsextreme Partei zur größten Partei des Landes und erhielt fast ein Viertel der Stimmen im Land. Zu ihren Visionen gehören ein Verbot von Moscheen und des Korans sowie eine strenge Begrenzung der Zahl von Neuankömmlingen, internationalen Studenten und ausländischen Arbeitnehmern. Diese gewalttätige Rhetorik, die im Widerspruch zur niederländischen Verfassung steht, trägt aktiv zu einem Klima der Fremdenfeindlichkeit in den Niederlanden bei, mit zerstörerischen Folgen für diejenigen, die in den Niederlanden zu Hause sind. 
In diesem Kontext werden die intimen persönlichen Geschichten, aus denen sich diese Ausstellung zusammensetzt, politisch und tragen eine gemeinsame Botschaft der Menschlichkeit. Wie Bell Hooks in Belonging schreibt. A Culture of Place: „Das Reden über den Ort, an den wir gehören, ist für viele von uns ein ständiges Thema. Wir wollen wissen, ob es möglich ist, auf der Erde in Frieden zu leben. Ist es möglich, das Leben zu erhalten? Können wir uns ein Ethos der Nachhaltigkeit zu eigen machen, bei dem es nicht nur um den angemessenen Umgang mit den Ressourcen der Welt geht, sondern auch um die Schaffung von Sinn - die Gestaltung eines Lebens, das wir als lebenswert empfinden?“ 
Sich geerdet zu fühlen, bedeutet, sich sicher zu fühlen: verwurzelt im Vertrauten. Es ist ein Gefühl, das aus einer innigen Verbindung mit einem Ort oder aus der Gegenseitigkeit der Beziehungen zu den Menschen um einen herum entsteht. Es ist in deinem Körper präsent, wenn du gehst, weil du weißt, dass deine Vorfahren auf demselben Land gewandert sind. Sie atmet, wenn du sprichst, in der Gewissheit, dass deine Stimme nicht nur gehört, sondern aktiv erwartet wird. Geerdet zu sein bedeutet, unterstützt zu werden, wenn Sie handeln, sicher in den Rechten und Freiheiten, von denen Sie wissen, dass Sie sich darauf verlassen können.
Der Prozess der Erdung ist etwas ganz anderes. Es ist eine Suche nach Gewissheit; eine Reise, die an einem Ort beginnt und zu einem anderen führt. Durch die Bewegung werden Bindungen an vergangene Realitäten gelöst, und die Verbindungen müssen neu gestaltet werden. Die ganze Zeit über sehnt man sich nach dem, was man zurückgelassen hat, und nach Zugehörigkeit an einem Ort, der einen nicht will. Hier ist es nicht der Boden, der uns hält und erhebt, sondern wir sind es, die den Boden halten und ihn erheben.
Vom 13. September bis zum 3. November 2024
De StadsGalerij Breda, Oude Vest 34, 4811 HT Breda
Kuratorin: Daria Tuminas
Gestaltung: Studio Sara Cristina MoserÜbersetzung und Redaktion: Felix van de Vorst, Hannah Vernier und George H. King


	Exhibition identity for the FOTODOK exhibition Grounding – Stories of Migration as part of BredaPhoto Festival 2024, running from September the 13th until November the 3rd 2024. The exhibition features works by Thana Faroq, Hanna Hrabarska, Sebastian Koudijzer i.c.w. Tyler Koudijzer, Marwan Magroun, Kevin Osepa, Giya Makondo-Wills, and Nael Quraishi. 

Grounding – Stories of Migration presents works by seven artists that tell stories of first generation migration – those who came to the Netherlands by choice or by circumstance. These works reflect processes of diasporic homemaking and identity formation: both ever-evolving pursuits for the uprooted. Split into parts, or caught between past and present, the urge to define a new sense of home – and a new sense of self – becomes stronger than ever.

Set in the Netherlands, Nael Quraishi’s This Is Home After All presents a series of subtle observations made from the artist’s living room. Looking out from his window, Quraishi grasps at the clothing, gestures, sounds and scents that recall his birth city of Karachi, capturing fragments in text and image. 

In The Sugarcoated Venture, brothers Tyler and Sebastian Koudijzer travel with their Javanese grandparents to their birth country, Suriname. Visiting several sites of memory, including the remains of Sugar Company Mariënburg, they consider the impact of colonialism on their family’s journey. 

Elsewhere, Thana Faroq’s how shall we greet the sun unveils the complex emotional lives of young women refugees living in the Netherlands, including the personal stories of the artist herself. 

Marwan Magroun’s Intimacy points to a language of close connectivity amongst first generation migrants. 

In Hanna Hrabarska’s My Mom Wants to Go Back Home, the artist documents a move from Ukraine to the Netherlands, the desire to return home, the impossibility of doing so, and the experience of settling gradually in another country. 

Meanwhile, Kevin Osepa works with the familial oral history and mythology in the heart of Curaçao, connecting people and spirits, realities of streets and domestic objects and rituals. 

Finally, Giya Makondo-Wills’ A Neighbourhood tackles the dynamics of migration to the Netherlands, exploring how discrimination and racism infiltrate society, informing everything from legal procedure to casual neighbourhood chatter. Ultimately, these sentiments offer a hostile backdrop to each new “welcome”. In response to the questions posed formally by the Dutch immigration system, Giya Makondo-Wills continues along similar lines, asking several questions of her own: “Is the Netherlands a place for me? Am I safe? Am I allowed to question this place? Must I become you to be able to stay? What values shall I keep and what ones do you not like? Do you ever think, why am I here?”
Through an open call and several commissions, FOTODOK began working on Grounding – Stories of Migration in 2022. Since then, the Dutch political landscape has shifted considerably; the 2023 general election saw a far-right party become the country’s largest, securing almost a quarter of the national vote. Its visions include a ban on mosques and the Koran, as well as strict limits on numbers of newcomers, international students and foreign workers. At odds with the Dutch constitution, this violent rhetoric actively shapes a climate of xenophobia in the Netherlands, with destructive implications for those that have made it their home. 

In this context, the intimate personal stories that make up this exhibition become political, carrying a shared message of humanity. As bell hooks writes in Belonging. A Culture of Place, “Talking about place, where we belong, is a constant subject for many of us. We want to know if it is possible to live on the earth peacefully. Is it possible to sustain life? Can we embrace an ethos of sustainability that is not solely about the appropriate care of the world’s resources, but is also about the creation of meaning – the making of lives that we feel are worth living?” 

To feel grounded is to feel certain: rooted in the familiar. It’s a feeling that stems from an intimate connection with a place, or the mutuality of relations with people around you. It is present in your body when you walk, knowing that your ancestors walked the same land. It breathes when you speak, assured that your voice is not only heard, but actively awaited. To be grounded is to be supported when you act, secure in the rights and freedoms you know you can rely on.

The process of grounding is something else entirely. It’s a search for certainty; a journey that starts in one place and leads you to another. Through movement, ties to past realities are dislocated, and connections must be shaped anew. All the while, you yearn for what was left behind, as well as for belonging in a place that doesn’t want you. Here, it is not the ground that holds and uplifts us, but it is us who holds and uplifts the ground.

From September 13 until November 3 2024
De StadsGalerij Breda, Oude Vest 34, 4811 HT Breda

Curator: Daria TuminasDesign: Studio Sara Cristina MoserTranslation and editing: Felix van de Vorst, Hannah Vernier and George H. King


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	<item>
		<title>DFDK</title>
				
		<link>https://saracristinamoser.de/DFDK</link>

		<pubDate>Wed, 16 Oct 2024 12:46:11 +0000</pubDate>

		<dc:creator>www.saracristinamoser.de</dc:creator>

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		<description>
	DFDK Braunschweig

Tanz &#38;amp; Theater sind überall&#38;nbsp;
Cultural identity &#38;amp; Kampagne&#38;nbsp;


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	Cultural Identity mit Logoentwicklung und Kampagnengestaltung für den Dachverband Freie Darstellende Künste Braunschweig. 
Die Plakatkampagne macht auf die Freie Darstellende Szene in Braunschweig aufmerksam. Unter dem Motto „Tanz &#38;amp; Theater sind überall“ wird von August bis Dezember die Vielfalt der freien darstellenden Künste in Braunschweig an den unterschiedlichsten Orten hervorgehoben und darauf aufmerksam gemacht, dass Braunschweig einen Spielort für die freien darstellenden Künste braucht.


	Cultural identity with logo development and campaign design&#38;nbsp; for the association of independent performing arts Braunschweig. The poster campaign draws attention to the independent performance scene in Braunschweig. With the theme “Dance &#38;amp; Theater are everywhere”, the diversity of the independent performing arts in Braunschweig will be highlighted in a wide variety of locations from August to December and draws attention to the fact that Braunschweig needs a venue for the independent performing arts. 


</description>
		
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	<item>
		<title>Berufe und Architektur</title>
				
		<link>https://saracristinamoser.de/Berufe-und-Architektur</link>

		<pubDate>Fri, 13 Dec 2024 15:20:27 +0000</pubDate>

		<dc:creator>www.saracristinamoser.de</dc:creator>

		<guid isPermaLink="true">https://saracristinamoser.de/Berufe-und-Architektur</guid>

		<description>
	Plieningens Geschichte in Bildern – Berufe &#38;amp; Architektur im Wandel der Zeit


	&#60;img width="3000" height="4000" width_o="3000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/fb6667e1fd9795049cb1ff12b01a182bce57a69db1f60c0c78cfcfbb3c479310/07_heimatmuseum-plieningen_sara_071svenweber_print.jpg" data-mid="223315134" border="0" data-scale="85" src="https://freight.cargo.site/w/1000/i/fb6667e1fd9795049cb1ff12b01a182bce57a69db1f60c0c78cfcfbb3c479310/07_heimatmuseum-plieningen_sara_071svenweber_print.jpg" /&#62;


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	Ausstellungsgestaltung für die Ausstellung "Plieningens Geschichtein Bildern – Berufe &#38;amp; Architektur im Wandel der Zeit" 
Historische Gebäude sind Zeugen ihrer Zeit und Ausdruck von Kultur und Lebensgefühl. Jedes Bauwerk hat seine eigene, spannende Geschichte. Die Idee dieser Fotografie-Ausstellung ist es deshalb, die Geschichte Plieningens anhand seiner Gebäude und der Berufs-gruppen zu erzählen, von denen sie genutzt wurden und werden.
Die Ausstellung nimmt den Erfahrungs- und Wissensschatz der Plieninger Bevölkerung auf und findet in der alten Zehntscheuer statt – selbst ein historisches Gebäude, das einst zur Lagerung der “Zehnte” der Ernte genutzt wurde und damit Ausdruck einer veränderten Nutzbarmachung historischer Gebäude ist. 
Museumsleitung Heimatmuseum Plieningen: Elena Kaifel
Umsetzung: Marie-Sophie Hönle, Leonie Gutsche
Bildarchiv: Tilo Schad
Betrieb: Ariane Bachter
Kommunikation: Vesna Babic
Kommunikation- und Ausstellungsgrafik: Studio Sara Cristina Moser
Eine Ausstellung des Heimatmuseum Plieningen als Teil der Museumsfamilie des StadtPalais – Museum für Stuttgart.
Fotografie: Sven Weber


	Exhibition design for the exhibition ‘Plieningen's history in pictures – professions &#38;amp; architecture through the ages’ 
Historic buildings are witnesses of their time and an expression of culture and lifestyle. Every building has its own exciting story. The idea of this photography exhibition is therefore to tell the story of Plieningen through its buildings and the professions that used and still use them.The exhibition draws on the wealth of experience and knowledge of the Plieningen population and takes place in the old Zehntscheuer - itself a historic building that was once used to store the ‘tithes’ of the harvest and is thus an expression of the changing utilisation of historic buildings. 
Museum management of the Plieningen Heimatmuseum: Elena Kaifel
Realisation: Marie-Sophie Hönle, Leonie Gutsche
Image archive: Tilo Schad
Operation: Ariane Bachter
Communication: Vesna Babic
Communication and exhibition graphics: Studio Sara Cristina Moser
An exhibition of the Heimatmuseum Plieningen as part of the museum family of the StadtPalais - Museum für Stuttgart.
Photography: Sven Weber&#38;nbsp;

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	<item>
		<title>Bäume</title>
				
		<link>https://saracristinamoser.de/Baume</link>

		<pubDate>Wed, 15 Jan 2025 16:42:08 +0000</pubDate>

		<dc:creator>www.saracristinamoser.de</dc:creator>

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	Bäume.
Zeitzeugen in Bad Cannstatt


	&#60;img width="3000" height="4000" width_o="3000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/975970b9ee4972a1015b2815c1f7528958b062926b4e74a64904d3a5508549e7/14stadtmuseum-cannstatt_repros_sara_026svenweber_print.jpg" data-mid="224828346" border="0" data-scale="64" src="https://freight.cargo.site/w/1000/i/975970b9ee4972a1015b2815c1f7528958b062926b4e74a64904d3a5508549e7/14stadtmuseum-cannstatt_repros_sara_026svenweber_print.jpg" /&#62;

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	Seit jeher begleiten grüne Zeitzeugen nicht nur die städtischen Veränderungen, sondern auch die Menschen ihrer Zeit. Urbane Bäume haben den Wandel von beschaulichen Siedlungen zu lebendigen Stadtbezirken miterlebt und verkörpern mehr als nur Begrünung – sie sind Symbole für Beständigkeit und Leben in einer sich rasant verändernden Welt. In den Parkanlagen von Bad Cannstatt, vom Oberen und Unteren Kursaal bis hin zum Rosenstein- park, bilden sie eine Symbiose zwischen Natur und Stadt. Dabei durchbrechen sie die starrenLinien der Verstädterung und schaffen Oasen der Ruhe und Erholung.
Zwischen 2020 und 2024 hat der Fotograf Jo Hinko die einzigartigen Charaktere dieser Bäume in verschiedenen Jahreszeiten einge- fangen und lädt zu einer visuellen Reise durch die Parkanlagen Bad Cannstatts ein. Jede Fotografie dokumentiert dabei die Geschichte&#38;nbsp;eines Baumes–von den alten, knorrigen Riesen bis hin zu jungen, vitalen Bäumen, die das Stadtbild prägen.

Museumsleitung Stadtmuseum Bad Cannstatt: Elena Kaifel
Fotograf: Jo Hinko
Kuratorin: Sara Fegg
Betrieb: Ariane Bachter
Kommunikation: Vesna Babic
Kommunikation- und Ausstellungsgrafik: Studio Sara Cristina Moser

Eine Ausstellung des StadtmuseumBad Cannstatts als Teil der Museumsfamilie des StadtPalais – Museum für Stuttgart.
Fotografie: Sven Weber 


	Green contemporary witnesses have always accompanied not only urban changes, but also the people of their time. Urban trees have witnessed the transformation from tranquil settlements to lively city districts and embody more than just greenery - they are symbols of permanence and life in a rapidly changing world. In the parks of Bad Cannstatt, from the Upper and Lower Kursaal to Rosenstein Park, they form a symbiosis between nature and the city. In doing so, they break through the rigid lines of urbanisation and create oases of peace and relaxation.
Between 2020 and 2024, photographer Jo Hinko captured the unique characters of these trees in different seasons and invites you on a visual journey through the parks of Bad Cannstatt. Each photograph documents the history of a tree - from the old, gnarled giants to the young, vital trees that characterise the cityscape.
Museum management Stadtmuseum Bad Cannstatt: Elena Kaifel
Photographer: Jo Hinko
Curator: Sara Fegg
Operations: Ariane Bachter
Communication: Vesna Babic
Communication and exhibition graphics: Studio Sara Cristina Moser
An exhibition of the StadtmuseumBad Cannstatt as part of the museum family of the StadtPalais - Museum für Stuttgart.
Photography: Sven Weber&#38;nbsp;

</description>
		
	</item>
		
		
	<item>
		<title>Beate Gärtner Abstract</title>
				
		<link>https://saracristinamoser.de/Beate-Gartner-Abstract</link>

		<pubDate>Wed, 25 Sep 2024 14:45:11 +0000</pubDate>

		<dc:creator>www.saracristinamoser.de</dc:creator>

		<guid isPermaLink="true">https://saracristinamoser.de/Beate-Gartner-Abstract</guid>

		<description>
	Beate Gärtner
Abstract
Katalog
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	Katalog für die Künstlerin Beate Gärtner. Design als Schweizer Broschur mit offener Fadenheftung. Zweisprachiges Layout durch direkte gegenüber Stellung der beiden Sprachen im Dialog.&#38;nbsp;


	Catalogue for the artist Beate Gärtner. Designed as a Swiss brochure with open thread stitching. Bilingual layout through direct juxtaposition of the two languages in dialogue. 
</description>
		
	</item>
		
		
	<item>
		<title>8000watt Magazin</title>
				
		<link>https://saracristinamoser.de/8000watt-Magazin</link>

		<pubDate>Tue, 24 Sep 2024 16:27:28 +0000</pubDate>

		<dc:creator>www.saracristinamoser.de</dc:creator>

		<guid isPermaLink="true">https://saracristinamoser.de/8000watt-Magazin</guid>

		<description>
	Time2Abfahrt
8000watt Magazine
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	Creative Direction, Konzept, Storytelling &#38;amp; Design für das 8000watt Magazin „Time2Abfahrt“. Auf 144 Seiten dokumentieren analoge Fotos den Atlas Mountain gravel trip in Marokko von dem Fotografen Patrick Pilz und Julien Riganti / 8000watt.


available here: 
shop.8000watt.com


	Creative Direction, concept, storytelling &#38;amp; design for the 8000watt Magazine “Time2Abfahrt”. On 144 pages, analog photos document the Atlas Mountain gravel trip in Morocco by the photographer Patrick Pilz and Julien Riganti / 8000watt.
available here: 
shop.8000watt.com
</description>
		
	</item>
		
		
	<item>
		<title>Frauenkultur Büro NRW</title>
				
		<link>https://saracristinamoser.de/Frauenkultur-Buro-NRW</link>

		<pubDate>Thu, 07 Nov 2024 12:53:14 +0000</pubDate>

		<dc:creator>www.saracristinamoser.de</dc:creator>

		<guid isPermaLink="true">https://saracristinamoser.de/Frauenkultur-Buro-NRW</guid>

		<description>
	Policy Baukasten Familie und Care am Theater&#38;nbsp;


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&#60;img width="1792" height="1792" width_o="1792" height_o="1792" data-src="https://freight.cargo.site/t/original/i/4ad600f184f8e7aecf34f56d8d40d6377381e8561a9b677da75bb57ba5d69e3e/6.jpg" data-mid="221337012" border="0"  src="https://freight.cargo.site/w/1000/i/4ad600f184f8e7aecf34f56d8d40d6377381e8561a9b677da75bb57ba5d69e3e/6.jpg" /&#62;


	︎︎︎ ZUM POLICY BAUKASTEN: www.theaterpolicy.care&#38;nbsp;︎︎︎


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	Website Konzept und Gestaltung für das Frauenkulturbüro NRW &#38;amp; Culture Policy Lab. Basierend auf der zuvor entwickelten Identity für das Symposium Familienvereinbarkeit in den Performing Arts. (mehr hier&#38;nbsp;︎︎︎)

Der Policy Baukasten Familie und Care amTheater ist ein Hilfsmittel zur Modernisierungvon Theatern. Als prozesshafte Webplattform präsentiert der Baukasten eine ganzheitliche Zusammenschau aller bekannten Maßnahmen zur Verbesserung der Situation von Familien in Theatern. Für den Baukasten wurde eine eigene Systematik entwickelt, die alle Aspekte des Themas Familie und Care am Theater umfasst: Der Baukasten schlüsselt das Thema Familie und Care über 4 Kategorien, 20 Operatoren und 86 Indikatoren auf. Mit dem Baukasten ist es erstmals möglich so verschiedene Themen wie Mitarbeiter*innenführung und Arbeitskultur bis hin zur Einrichtung von Ruheräumen und Spielecken übersichtlich darzustellen. Potentielle Nutzer*innen des Baukasten können sich einzelne Elemente herauspicken, sich neugierig durch Themen klicken, sich eines Thema in Gänze annehmen oder gezielt nach Maßnahmen suchen. Und trotzdem das Große-Ganze bzw. die Komplexität des Themas im Blick behalten.
Der Policy Baukasten richtet sich an Kulturpolitik-und Verwaltung, Theatermanager*innen sowie Kulturschaffende. Der Baukasten soll dabeihelfen ein umfangreiches Thema übersichtlichund analytisch aufzuschlüsseln. Er ist eine Übersicht, was alles möglich ist. Das Thema Familie und Care ist ein dringendes Thema unter vielen. Politik und Kultur stehen vorvielfältigen Aufgaben, Theater weiterzuentwickeln. Kulturschaffende stehen vor der Herausforderung Familie und hochkarätiges Kunstschaffen zu vereinen. Der Baukasten ist ein Tool für alle Stakeholder ihre operativen, strukturellen und strategische Ziele und Prozesse zu analysieren und mit konkretenMaßnahmen für div. Arbeitsbereiche/ Einflussbereiche bspw. im Bereich Finanzen, Führung, Arbeitskultur, Ressourcen, Weiterbildung, Mitbestimmungund Prävention u.v.m. zu finden. Der Baukasten wurde aus einer umfangreichen Recherche in einem partizipativen Prozess entwickeltund versucht Systematik in eine emotionale Debatte zu bringen. Bekannte Forderungen und Maßnahmen werden kategorisiert und systematisch zueinander in Beziehung gesetzt.Die Entwicklung des Policy-Baukastens ist von Anfang an partizipativ. Es wurden eine Vielzahl von Partner*innen aus Kulturpolitik, Theatern, Verbänden, Gewerkschaften und Initiativen bspw. der Deutsche Bühnenverein, der Dachverband Tanz, die AG Tanz und Elternschaft des ZTB e.V., die Bühnenmütter*, der Deutsche Kulturrat, die GdBa, einzelne Intendant*innen, Geschäftsführer*innen, oder Kulturdezernent*innen involviert. Ihr Feedback und ihre Fachexpertise sind in die Entwicklung des Policy - Baukastens eingeflossen. Als Projekt des Frauenkulturbüro NRW stand die Zusammenarbeit mit den Theatern Oberhausen und Münster innerhalb des „Modellprojekt Familienvereinbarkeit“ im Fokus. Alle Mitwirkenden des Policy Baukastens sind in ihrem Wunsch vereint Careverantwortung an Theatern zu ermöglichen und arbeiten gemeinsam an der Implementierung der Change-Prozesse, um die strukturellen Rahmenbedingungen zu verbessern.
www.theaterpolicy.care


REDAKTIONDr. Christian Steinau, Cultural Policy Lab

Frauke Meyer, Frauenkulturbüro NRW

WEBENTWICKLUNGMoritz Schaller


	Website concept and design for the Frauenkulturbüro NRW &#38;amp; Culture Policy Lab. Based on the previously developed identity for the symposium Family Compatibility in the Performing Arts. (more here ︎︎︎)
&#38;nbsp;&#38;nbsp;The Family and Care Theatre Policy Toolkit, which is a tool for modernising theatres. As a process-based web platform, the toolkit presents a holistic overview of all known measures to improve the situation of families in theatres.A special system was developed for the toolkit that covers all aspects of the topic of family and care in the theatre: The toolkit breaks down the topic of family and care into 4 categories, 20 operators and 86 indicators. The toolkit makes it possible for the first time to clearly visualise topics as diverse as staff management and work culture through to the establishment of quiet rooms and play areas. Potential users of the toolbox can pick out individual elements, click through topics with curiosity, take on a topic in its entirety or search for specific measures. And still keep an eye on the big picture or the complexity of the topic.
The policy toolkit is aimed at cultural policy-makers and administrators, theatre managers and cultural professionals. The toolkit is intended to help break down an extensive topic in a clear and analytical way. It is an overview of what is possible, and the topic of family and care is one of many urgent issues. Politics and culture are faced with a variety of tasks to further develop theatre, while cultural professionals are faced with the challenge of combining family and top-class artistic creation. The toolkit is a tool for all stakeholders to analyse their operational, structural and strategic goals and processes and to develop concrete measures for various areas of work/areas of influence. The toolkit was developed from extensive research in a participatory process and attempts to bring a systematic approach to an emotional debate. Known demands and measures are categorised and systematically related to each other.
The development of the policy toolkit has been participatory from the outset. A large number of partners from cultural policy, theatres, associations, trade unions and initiatives, such as the German Stage Association, the Dachverband Tanz, the AG Tanz und Elternschaft des ZTB e.V., the Bühnenmütter*, the German Cultural Council, the GdBa, individual artistic directors, managing directors and heads of cultural departments were involved. Their feedback and expertise were incorporated into the development of the policy toolkit. As a project of the Frauenkulturbüro NRW, the focus was on cooperation with the theatres of Oberhausen and Münster within the ‘Family Compatibility Model Project’. All those involved in the policy toolkit are united in their desire to enable care responsibility in theatres and are working together to implement the change processes in order to improve the structural framework conditions.
www.theaterpolicy.care
REDAKTIONDr. Christian Steinau, Cultural Policy Lab
Frauke Meyer, Frauenkulturbüro NRW


WEBDEVELOPMENTMoritz Schaller

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		<title>What is Love?</title>
				
		<link>https://saracristinamoser.de/What-is-Love</link>

		<pubDate>Wed, 06 Dec 2023 17:35:17 +0000</pubDate>

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	What is Love?
Ein musikalisches Fest
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	Poster für die Perfromance:&#38;nbsp;WHAT IS LOVE? Ein musikalisches Fest. “What is Love?” lädt das Publikum zu einem außergewöhnlichen Fest der Liebe ein: Hier philosophieren die Turteltauben, weinen die Musiker*innen, steppen die Vulven und alle kommen zum Höhepunkt. Eine fulminante Performance aus Liedern, feministischen Theorien und biografischen Erfahrungen inspiriert von Liv Strömquists Buch „Der Ursprung der Liebe“.


	Poster for the performance WHAT IS LOVE? A musical celebration.&#38;nbsp;"WHAT IS LOVE?“ invites the audience to an extraordinary celebration of love: Here the lovebirds philosophise, the musicians cry, the vulvas tap-dance and everyone comes to a climax. A brilliant performance of songs, feminist theories and biographical experiences inspired by Liv Strömquist's book "The Origin of Love".


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