Haus am Gern, KlHaus, 2018, Foto / photo: Rudolf Steiner



A project by Haus am Gern

A small house stands in the garden in front of Kunsthaus Pasquart, the «KlHaus». For a period of three years we will collect and assemble what is happening in another place 800 kilometers to the north-east, or rather, to reflect this other place in terms of material traces. This other place is situated in the gazebo of an allotment garden in Leipzig. It was constructed in 2005 by Haus am Gern in the form of a white cube in the gazebo of allotment 266 of the association of small gardens in Anger-Crottendorf. In accordance with the EN ISO 14644 contamination control standard, it was then cleaned by the firm Pro_Con, specialists in the cleaning of cleanrooms, then sealed and declared by Haus am Gern to be a «HISTORY FREE SPACE». It is the only room of its kind on this planet.

Prof. Dr. phil. Jasper A. Friedrich builds the «HISTORY FREE SPACE» in Leipzig virtually and writes a garden journal

Currently @ KlHaus:

KELASARIAM – Welten sind mehr als Fakten

Raumbild by Filip Haag


KELASARIAM emerges situationally and improvised and gives the KlHaus height and breadth. I move in the imagination beyond the clearly recognisable and on this side of the vague, the no longer foreseeable. This is the terrain of an abstraction that still remains attached to the tangible: the object, the landscape, the figure. A landscape, not a landscape… The difference is infinite – and nevertheless both touch each other. 

I paint with gold paint. This makes it easier to enter the picture on a deep, dark blue and unites the light, gentle shine of gold with its weight, its symbolic power.

I do not have, paint or distribute a message. Whoever enters the painting and lets himself in, will be let in, will recognise a world, find himself in it, be part of it – and related to it. The more related, the more oneself, the more seen, the more clever. Filip Haag

Filip Haag, *1961, lives and works in Bern. In his painting he focuses on perception and the phenomena of visibility.

He is currently showing paintings and drawings under the title AUGENBLICK MAL FARBE at Galerie Bernhard Bischoff in Bern until 15 May.


16.12.2020 / 1.3.-28.3.2021

Peter Gysi temporarily fits his kit «C», consisting of 65 white wooden tyres, into the interior of the KlHaus. The tyres are transformed into a fragile, provisional arrangement – stored, fitted, arranged – and form new spaces, interspaces. Peter Gysi lives since 65 years, and he is a master of the explosiveness of the banal.

Peter Gysi (*1955 in Chur, lives and works in Burgdorf) expresses himself in his artistic work in a variety of media and complex content. Objects, installations, works on paper and actions often meet in surprising ways. Peter Gysi works in series. He is interested in creating and simultaneously breaking or disrupting existing orders, whether they are found or specially created. In his analysis of art historical references, the artist questions the principles of composition, proportion and functionality. In this way, he gets rid of the original function of everyday objects and industrial materials, which is all the more present through their understatement, and transfers them into new contexts of content and aesthetics – visual thought-provoking impulses, often mischievous, which subtly and subversively irritate with an immediately recognisable shift in the existing order, but which only develop their full effect and lead to the reflection of existential basic conditions in the advanced process of knowledge. 

Eva Inversini 

Time Contamination
Installation, performance


Martin G. Schicht
formely known as Martin G. Schmid
17.8.– 25.10.2020

SA 19.09.2020

Presentation of the Filter Bible / rrr-Performance instructed by Martin G. Schicht

SO/DI 25.10.2020 – 15:30
Closing and talk with Martin G. Schicht, Beat Gugger and Florian Eitel

The talk will be followed by the “earthformance”, which will bring the project to a close in Biel.
During the “earthformance”, Martin G. Schicht will decide whether he will keep the name of his project.

“Into one room we can go again and again – into one time only once. Therefore, we are not in the same space, we are in the same time.”
Martin G. Schicht

In the middle of the 19th century, Biel/Bienne became the centre of the Swiss watch industry with over 2000 manufacturers. Not far from Leipzig is the city of Glashütte in Saxony. At the same time a new watch production was developed there, deliberately as competition to the Swiss and thus Biel watch industry. Throughout the history of timekeeping, these places have always competed and cooperated. For both, the digitalization of time is the current challenge.

Our digitalized present simply holds time for time. The present seems to be expanding more and more. Or as Alexander Kluge calls it: an attack of the present on the rest of time. Historically, however, time has always been understood differently. Many a historical concept of time seems downright alienating to us today, and accordingly, many a future concept of time will also disturb us. We are exposed to this irritation by a different understanding of time, even if we try to entrench ourselves in a permanent present. But we will be contaminated. And sometimes we already are. Time contamination.

Martin G. Schmid will change his name to Martin G. Schicht for the project in the KlHaus. He has taken soil from the garden of the Historical Free Space in Leipzig to bring it to Biel. For earth is a very good conservator in which objects remain stable in time for a very long time. This is where the project begins. Subsequently, the KlHaus is enriched with various interventions: digital filter bible, optical digital pattern, digital and analogue patina, space irritation, time irritation, spinning time hands from Biel and Glashütte, archaeological excavation of contemporary art on the meadow of the Kunsthaus, burial in the KlHaus, earth performance, rrr performance – personally instructed by Martin G. Schicht.

Martin G. Schicht online :

“DROMENON” – 72 drawings by TILO STEIREIF
4.7.– 16.8.2020

Tilo Steireif’s series of 72 Dromenon drawings was created during the Covid 19 lockdown. “During this time I was working on a picture book in which the avant-garde of design and contemporary art are mixed together. When turning the pages I had the impression of a total erasure. Design and art together literally destroyed themselves as all meaning and interpretation disappeared before my eyes. That is when the definition of the mystery of the ancient Greeks appeared to me: the simultaneous role of word, image and ritual and this unknown word: Dromenon.
Dromenon, according to Christopher Wood, means the act, “the thing done”, also in contrast to the image. The 72 drawings, produced and presented in the KlHaus in filmed form, objectify the ritual of seeing and reading and try to evoke the erasure of image and action at a symbolic place. In 2005 this happened in Leipzig’s Kleingarten 266 in the context of SARS. Now it is the context of Covid 19.

Dromenon we can imagine (after Wood 2012): “(…) as a goal. The word was borrowed from the archaic Greek religion. The mysteries consisted of Legomenon, Deiknymenon and Dromenon: words, images and rites. The word Dromenon is derived from Dramain, meaning running. But dromenon, the race, does not mean the lock to the future, nor the catch-up to history, nor the panic flight, nor the random wandering, but rather the repetitive action of the ritual.”
It was only by chance that I made the connection with Aby Warburg and his institute in Woburn Square in central London. The Warburg Institute is, according to its website, the world’s leading institute for the study of cultural history and the role of images in culture.  It contains 78 black boards, on which side by side are pinned Renaissance masterpieces, pictures from a visit of a cardinal to the Fiat factories to the “house fairy” advertisement, which praises the advantages of toilet paper.”
Tilo Steireif, artist, Lausanne

Joyfulnoise Now” – a sound project by Hans Koch
8.– 28.6.2020

14.6.2020, 17h
28.6.2020, 18h

Biel/Bienne ist eine Hochburg der freien improvisierten Musik und ein Laboratorium für stilistisch ungebundene Musik, der «Jetzt-Musik». Für die Grösse der Stadt gibt es eine erstaunliche Anzahl von MusikerInnen, die mit ihrer ureigenen Art immer wieder musikalisches Neuland erforschen. Den Nährboden dazu  legten u.a. die beiden Musiker Hans Koch und Martin Schütz  mit ihrem aussergewöhnlichen Joyful Noise Orchestra. Inspiriert  von der New Yorker Downtown Szene  starteten die beiden Musiker 1988 die Konzertreihe Joyful Noise und gründeten später das Joyful Noise Orchestra (“3 Nights Of Joyful Noise”) – ein radikales musikalisches Wagnis und ein Fest der freien Improvisation. Das bis zu 24-köpfige Grossorchester findet sich alle 2 Jahre zu einem dreitägigen, intuitiv-kollektiven, nicht-hierarchischen Spielrausch. «Es soll eine verrückte, betörende, sensible, Aufmerksamkeit fordernde, herausfordernde, und hoffentlich unerhört fantastische Musik ohne stilistische Scheuklappen sein», so Schütz und Koch. Joyful Noise nimmt mit dieser frei erfundenen Musik auf eine unerhörte Art Raum und Zeit ein und inspiriert die ganze Stadt.

Im KlHaus spielt Hans Koch täglich ein kurzes Set. In seiner Abwesenheit ist eine historische Joyful Noise-Konzertaufnahme und Hans Kochs zeitlose 15-minütige Fieldrecordings zu hören, arrangierte Aufnahmen von Wind und Regen und lokalen Geräuschen, die in Japan, China, Chile, Kroatien, Serbien, Wien, Biel/Bienne und auf seiner Alp im Berner Oberland aufgenommen wurden. Der Bläser und Komponist Hans Koch lebt in Biel/Bienne und musiziert auf der ganzen Welt.


All nonsense cancels itself out

Audio piece: Concept / Text montage: Bernhard Kathan
Speaker: Katrin Daliot
Poster: Autopsy report D.P.Schreber

Bernhard Kathan, cultural historian, writer and artist from Innsbruck, deals with various aspects of totalitarian rule. Kathan’s profound studies of the Leipzig lawyer and writer Daniel Paul Schreber (1842-1911) find their artistic form in a audio piece in the KlHaus.
Daniel Paul Schreber was the son of the Leipzig orthopaedic surgeon Moritz Schreber, the eponym of the later Schreber or allotment garden movement, whose brutal method of education is considered to be black pedagogy. Kathan’s audio piece is the fictitious soliloquy of an aspirant of the Dresden Higher Regional Court who, after a conversation with Daniel Paul Schreber, attempts to order his confused world view.

27.1. – 15.3.2020


Residence & Installation (sound, text) by Antoine Rubin

Writer Antoine Rubin is taking a second week in the KlHaus to continue the work he began during his first residency in June 2019. The time spent on site will be translated into a journal, which will grow daily, and will then be available to visitors. If the summer season promised a reflection on life outside with a roof over one’s head, this second part of the residence – this time winter – initiates a movement of inner retreat. Oscillating between presence and absence, the author questions the disappearance by means of the traces left behind.

The installation 877 MINUTES OF SILENCE forms the conclusion of this week. The memorial lists the 877 animal and plant species that were declared extinct by the International Union for the Conservation of Nature in January 2020. A minute’s silence was observed for each extinct species. The inventory of these species extinct during the Anthropocene is included in a red list published by the UICN (

7.12.19 – 26.1.20

„Sammlung Ketterer-Ertle RELOADED“


7.12.2019, 17:00

Opening: “Sammlung Ketterer-Ertle RELOADED”



The master brewer Daniel Grimm has already ensured the purity of the history-free space in Leipzig. On 26.10.2019 he brewed together with Haus am Gern in the KlHaus a few exclusive bottles of finest barley juice according to the Bieler purity bid, which are stored until 7.12.2019 and will be drunk at 18:30.


SOMETHING FROM HONG KONG by Cheung Tsz Hin and Ling Pui Sze

Artists travel the world and are therefore networked. The paths of the two visual artists Cheung Tsz Hin (b. 1987) and Ling Pui Sze (b. 1989) from Hong Kong and the two Biel/Bienne artists Susanne Walther and Barbara Meyer Cesta crossed in Iceland.  On the occasion of a trip to Europe, Cheung Tsz Hin and Ling Pui Sze will now make an intervention in the KlHaus – space and time can always be overcome at short notice.  Art critic Alice Henkes will talk to the two guests about how artists in Hong Kong are dealing with current events.


 SLEEP CYCLE, analoge s/w Fotografie, div. Dimensionen

«Sleep Cycle» nennt sich eine App, die – einmal auf dem Smartphone installiert – von der Matratze aus den Schlaf überwacht und analysiert. Die App verspricht, das Beste aus dem Schlaf herauszuholen, damit der Schläfer oder die Schläferin den stressigen Alltag noch besser bewältigt und verkraftet – die Selbstoptimierung und Competition macht nun auch vor dem wohl einzigen Zustand nicht mehr Halt, in dem wir gar nicht mehr «bei uns selber sind», sondern anderswo, im Schlaf nämlich, beim «kleinen Bruder des Todes». Keinerlei Selbstoptimierung betreibt hingegen Wojciech Niedzielko, wenn er die analoge Kamera auf sein  Bett richtet, den Verschluss öffnet und sich schlafen legt. Die Kamera zeichnet während der ganzen Nacht auf, was sich vor ihrer Linse abspielt. Das ist nicht viel und ist doch «das halbe Leben», das wir ja bezeichnenderweise schlafend verbringen. Diese schlafenden Selbstportraits von Wojciech Niedzielko transportieren eine unendliche Melancholie und Trauer über die «verschlafenen» Möglichkeiten und die Unmöglichkeiten, dieses Leben noch einmal nachzuholen. Auf dem Blog von Wojciech Niedzielko ( findet sich unter vielen anderen Bildern ein Foto mit dem Titel «Dziadek Stanisław». Es zeigt ebendiesen Grossvater Stanisław aufgebahrt auf dem Totenbett, und ein paar Klicks weiter ein Bild, das den Heustock in der Scheune seines Grossvaters zeigt mit der Legende: «Ich möchte gerne noch einmal eine Nacht im Heu in der Scheune meines Grossvaters verbringen. Trauer». Die polnische Sprache macht übrigens keinen Unterschied zwischen den Wörtern Schlaf und Traum.

Wojciech Niedzielko, polnischer visueller Künstler, *1959 in Ełk, gründete 1999 zusammen mit Igor Krenz die «Grupa Usługi Fotograficzne (Photo Service Group)». Seit 2001 Mitglied der Video- und Performance Gruppe «Azorro». Er lebt und arbeitet in Warschau.



Real life moves in: Cyndie and Raphaël are getting married in the KlHaus!
The decor consists of an “installation végétale” by the bride and groom: under the roof of the KlHaus they will hang dried plants, which will be available as souvenirs in the KlHaus in the autumn.

ALL those who would like to be present at a new story beginning in the KlHaus are invited to the wedding party.


14:00h Apéro, Buffet*
15:00h Cérémonie**
15:30h Musique***

permanent: Installation végétale****

• Apéro, Buffet par Batavia Epicerie Moderne
• Leipziger Allerlei & Leipziger Lerchen
interprété par maître cuisinier Rolf Bähler
• Gelati fait maison par EYE SCREAM

** CÉRÉMONIE performative
interprété par maître de cérémonie Rudolf Steiner

*** INSTALLATION végétale  jusqu’au sèchage final

**** DJ set par Dany Digler

VOTRE CADEAU DE MARIAGE: veuillez prêter attention à la COLLECTE
pour soutenir les intervenants de l’événement
zur Unterstützung der Festbeiträge


a sound installation by MR. SCHÜTZ

What you hear:
8 long loops, recorded in the last few months, with (mostly) prepared acoustic or electric cello. A short interruption between each loop: a few individual notes, a Robert Walser poem from the collection of early poems, “Au Bureau”, published in 1909, recorded by me in the French translation; a little greeting towards the Robert-Walser-Sculpture >>

17.6.- 23.6.2019

Le temps d’une semaine, l’écrivain Antoine Rubin a pris ses quartiers dans la KlHaus. Apportant le strict minimum, il développe une réflexion autour de la vie dehors avec un toit au-dessus de la tête. Le temps passé sur place se traduit en journal qu’il augmente au fur et à mesure des jours avant de le restituer à la ville.

Die Texte werden danach bis Mitte Juli im KlHaus zur Lektüre aufliegen.

PREKARIA – a video-opera by Studio Prekär

Marie-Luise Lange & Jeroen Singer
3-canal-video installation, ca. 3h

Opening 10.5.2019, 6pm

Running time until 16 June 2019, Finissage at 5pm

How does an idea of the past manifest itself in the present? The video installation PREKARIA examines the dichotomy and speechlessness that accompany the transformation of a social system. Distorted images, fragments and shreds of conversations, gestures and emotional impressions interweave with abstract choral and improvised opera singing. The documentary material is interpreted in various ways and subjected to an effective transformation. The focus of the work is not the search for truth, but the attempt to make an experience tangible. This does not only mean the experience of others, but also the difficulty of rearranging the distorted image of history in oneself.

Catalogue with DVD by Edition Haus am Gern

supported by

Currently @ KlHaus:

Hartmut Abendschein
Suchbewegung in der Ordnung der Dinge
16.3.-13.4.2019, Finissage 13.4.2019, 17:00

14.4.2019, 17:00 @ KlHaus:

Eine botanisch architektonische Fabel by Helmut Dick, vorgetragen von Helmut Dick und Vera Trachsel.

Im gesunden Hier und Jetzt haben Apfelbäume möglicherweise, und Räume ganz sicher kein Bewusstsein. In einem der unzähligen, nirwanischen Subräume allerdings – die zueinanderkommend zu einer Art Brummton verschmelzen – ist nicht nur jede erdenkliche und noch nicht gedachte Konstellation vorstellbar, sondern geradezu logisch: Bäume und Räume wissen wer sie sind und sprechen … sogar miteinander.

Der Geschichtsfreie Raum und der Apfelbaum @ Leipzig, 30.5.2016

The realisation of KlHaus was made possible thanks to the volunteer work of a large number of companies and educational institutions.

Thanks to:

BFH, Höhere Fachschule Holz Biel/Bienne