windy HOME at Tour de Franz

Is home a symbol of stability in an ever-changing world? Is the perspective of HOME becoming fluid? Can the emotion associated with it be defined? windy HOME is the first chapter of PKRD 59 and serves as an invitation to our safe space. In a time of chaos and various crises, including ecological, gender, and social issues, we aim to create an alternative sense of serenity.

The notion of HOME in an interdisciplinary aspect of different cultures and contexts, can represent a wide range of meanings and functions. It embodies a sanctuary focusing on the production of a feeling of safety and security.  In this sanctuary, care and nurturing should be experienced both individually and inter-relationally. It has the power to root itself and produce stability. It has the power to root itself and produce stability that fosters in the unit its perception of belonging. The individuals develop their environment in an expressive way seeking to spread their comfort and autonomy within it. HOME tends to thrive regardless of the base underneath it, whether socioeconomic, culturally traditional, historical, or environmental – its structure is fluid, but its core is reinforced by the desire for belonging and the search for personal solace.

HOME: private vs public

How, then, is this sense of security created in terms of the public versus the private? To what extent does placing oneself and their HOME in the public sphere go beyond an experience of comfort? In what ways does collective stepping into the safe nests of others transcend them?


This curatorial collaborative approach is trying to describe, share and (re)present the artist residency experience. During this period, artists adopt a nomadic perspective. Temporarily leaving their habitat and comfort in favor of a creative playground where they explore the unknown and discover themselves from various forms. Our separate universe creates a HOME that functions as a creative oasis where we can retreat, recharge, and reconnect. Understand its influence and observe its impact on daily life and the process of creation. It provides both a personal and shared vision and evokes sensitivity and emotions. In the windy HOME, undefined by spatial limits, the process of reconstructing one’s identity, finding oneself, and undergoing abstract internal mutations is continuous and extensive.

Private and public spheres are spread in a multiplicity of meanings, extending into different spaces of life. Each culture and, at the same time, each individual can redefine these spheres many times on its own in search of its needs and limitations. In this blurred diversity, the separation of what ‘entity A’ conceives as private may be far from what ‘entity B’ feels and understands as such. The differentiation of these spheres within the interaction with each being separate from us is a very complex and delicate process.


A meta-exhibition is a type of mood board that collects and makes visible to the viewer all the references and inspirations that are part of the artistic journey. This idea is inspired by the Institutional Critique(1) movement, which rethinks the exhibition format and questions the mechanisms of power. It promotes critical reflection on the role and impact of cultural institutions. In this way, the meta-exhibition is an experimental element that complements the exhibition text as a visual presentation.

Each artist, curator, and member of the PILOTENKUECHE team, participates in this definition and, through this proposition, tries to answer the questions: What is an artist residency for them? What is the impact of this shared artistic experience? How to produce within a limited time? What is home for them? While redefining and deconstructing, it offers an opportunity to experience the artist’s residency and observe its impact on the daily life and work of artists.


Through this open studios-exhibition format, the viewers and artists try to redefine together the understating of the public and intimate spheres. How to perceive the opening of this privacy of our space to a common co-interaction – will it unify the past and the future in colliding with the present?

Institutional Critique is an artistic and theoretical movement that emerged in the 1960s-70s. This movement aims to analyze art institutions (museums, galleries, art markets) by highlighting their roles and practices. Institutional Critique seeks to reveal how these institutions influence the production, reception, and distribution of art.

curators Mathilde Castaignède and Hanna Tokaj 

windy HOME
part of Tour de Franz

Sat 25 & Sun 26 May
2PM – 7PM

Franz-Flemming-Str 9
04179 Leipzig

International artists:

Emmeline Joy Morris (AU)
Lóa Sunnudóttir (IS)
J Jiang (CN)
Katya Granova (RU/UA/UK)
Anai Salem (IL)
Madison Hope Reid (CA)
Sudi Wang (CN/US)
Leonie Rittscher (UK/US)
Eunjin kim (KR)

Local artists:

Filipa Pontes (PT)
Elena Hüning (DE)


Mathilde Castaignède (KÜSSE Berlin) (FR)
Hanna Tokaj (PL)

Kintija Avena (LV)
Neena Bui (US)
Zeynep Ayta (TR)
Lisa Savchuk (UA)