CURATORIAL PRACTICE

ARTISTIC PRACTICE

MESSAGES FOUND IN AN ANTHILL

Exhibition at KV – Verein für zeitgenössische Kunst Leipzig (Association for Contemporary Art Leipzig) and Durchblick e.V. Leipzig, lecture and reading with sign language interpreters [2025]

Where can we hear, feel, and see language? And which modes of expression are considered legitimate to be recognized as a political subject in society?In a culture shaped by words, linguistic codes create access to or produce exclusion from institutional spaces, political discourses and cultural offerings. Through six artistic positions, the exhibition MESSAGES FOUND IN AN ANTHILL explores the complexity and diversity of human and non-human language and its significance for the embodiment and recognition of various lived realities. Language is discovered where it has previously been overlooked or outright denied.The participating artists address topics such as sign language; they examine the potential of words as a political tool; they engage with the languages of marine species and formulate a manifesto that radically challenges normative and discriminatory notions of what language and thought are.The exhibition took place at KV - Verein für zeitgenössische Kunst Leipzig as part of the program KV Support. Additional works were shown in a smaller satellite exhibition at Durchblick e.V. Durchblick e.V. (registered association) was founded in 1990 and is an initiative by and for people with experiences of psychiatric treatment.

CREDITS

Artists: Mel Baggs, Tanja Kristine Böhme, Anna Breit, Bernd Gehrig, Karin Michalski & Anne-Katrin StörmerTexts & Curation: Lisa Dreykluft ⦁ Editing & Translation into English: Helen Stefanie Schneider ⦁ Translation into Easy Language (German): Anne Geißler, Büro für Leichte Sprache Sachsen ⦁ Graphic Design: Nelly Nakahara ⦁ Photo Documentation: Maximilian KoppernockFunded by: Kulturstiftung des Freistaates Sachsen, Kulturamt der Stadt Leipzig, Aktion Mensch

GBB_EDITS #3: DESIRE ACROSS THE DISCIPLINES

Third annual exhibition of the Graduate School for Moving Images at Exhibition Area of Kunsthochschule Kassel [2024]

What drives one to follow the wandering paths of eels? To build a museum for obsolete futures? Or to haunt an exhibition space as a ghost?Eight artists and filmmakers from the Graduate School for Moving Image (GBB) present their work in the fields of film, video, animation, virtual reality, games, installation, sound, and performance. As diverse as their working methods are, behind each project there is a curiosity, a desire, or a longing– in short: a drive that is essential to artistic research.The exhibition title draws its inspiration from the “Rage! Across the Disciplines” conference held at California State University San Marcos in 1993. Rage can be a productive force for change, as Susan Stryker writes in the text adaptation of her performance and the best-known contemporary document of the event: “May your rage inform your actions, and your actions transform you as you struggle to transform your world.”The modification of the title – Desire Across the Disciplines – brings the unique potential of desire into focus: The longing for other worlds and forms of coexistence, and for new readings of bodies, biographies and history can transcend individual wishes and generate collective visions. And it can be the driving force behind the exploration, materialization, and narration of these imaginings through artistic, design-based, and performative means.

CREDITS

Artists: Paula Berger, Zirui Chen, Steph Joyce, Ai Kobayashi, Benedict Reinhold, shasti (Andara Shastika), N.B. Spiders, Herr v. RehtanzCuratorial Supervision: Lisa Dreykluft, Assistance: Tony Bartos ⦁ Editing: Helen Stefanie Schneider ⦁ Translation: Hannah Lansburgh & Matthias Büttner ⦁ Graphic Design: Marit-Helen Brunnert ⦁ Photo Documentation: Lucas Melzer

GBB_EDITS #1

First annual exhibition of the Graduate School for Moving Images at Exhibition Area of Kunsthochschule Kassel [2023]

With GBB_edits #1 the first collaborative final exhibition of the Graduate School of Moving Images took place, presenting the results of the artistic and cinematic research projects that the participants had developed during their two-year program.In the context of the interdisciplinary approach of the Graduate School of Moving Images, the six exhibitors brought together a wide range of artistic and cinematic positions, which were made visible in diverse installative methods – from photographic works to a self-developed software. They told of the influence of global market mechanisms, as well as of the ideological past of gender role models.

Credits

Artists: Alicia Carotta, Zeno Gries, Juliane Henrich, Silke Körber, Tobi Sauer Chris SchnerrCuratorial Supervision: Defne Kizilöz & Lisa Dreykluft ⦁ Editing: Anne Volksdorf ⦁ Graohic Design: Laura Därr

THERE IS NO SUCH THING AS HEALTH

Exhibition at durch blick galerie, Durchblick e.V. Leipzig [2023]

We are all inhabitants of the „kingdom of the sick“ that Susan Sontag describes in Illness as Metaphor. We all have been, are or will be sick at some point.Health is a fiction – in capitalism, it is a metaphor for being fit for work. The imperative to heal determines society‘s perspective on our bodies, and it leaves no room for the chronically ill, the incurable and the disabled. And, when illness occurs, we are forced to mourn another fiction: our independence.Instead of holding on to the idea of health, we ought to ask: What does it mean to live with pain, trauma and grief? To deal with depression, to move outside of normative notions of temporality, in crip time? And what vocabulary, what language can we create to share these experiences with each other?
As part of There is no such Thing as Health, artists with and ­without psychiatric experience show their works in the gallery of the Durchblick association Leipzig.

CREDITS

Artists: Johanna Blank, Sophie Hoyle, Michael Pleißner, Anne-Katrin Störmer, Abuzze von Schandel, Cat WoywodTexts & Curation: Lisa Dreykluft ⦁ Editing: Helen Stefanie Schneider ⦁ Poster Design: Robin Vehrs ⦁ Photo Documentation: Maximilian KoppernockFunded by: Kulturamt der Stadt Leipzig

(Interim) Results of an Interdisciplinary Collaboration: Governmental Nature Conservation and VisKom Kunsthochschule Kassel

Collaboration with excursions to renaturation projects in the region, followed by a final presentation and discussion at Kunsthochschule Kassel [2020–2022]

Since the winter semester of 2020, we have been working together as a working group of students and teachers of Visual Communication at the Kunsthochschule Kassel and representatives of the KLIMA team of the Upper Nature Conservation Authority. The focus is on how our respective skills and resources can be combined to jointly realize projects on climate change and its consequences around Kassel.

CREDITS

Students: Mia Baden, Marit-Helen Brunner, Saskia Kaffenberger, Rosali Karré, Smilla Siebenschock, Alisa Siebert, Andric Späth ⦁ Participated as former student: Linus Clostermann ⦁ Teachers: Johanna Schaffer, Miriam Schickler, Lisa Dreykluft ⦁ KLIMA Team of the Upper Nature Conservation Authority: Julia Brossok, Christian Henschke ⦁ Curatorial Supervision: Lisa Dreykluft ⦁ Graphic Design: Amelie Noll

MONITORING: MYTH AND MICROGRAVITY

The exhibition Monitoring takes place every year as part of the Kassel Documentary Film and Video Festival and presents artworks which include film, audiovisual, digital or media-critical approaches into installation. [edition 2021]

In July of this year, Amazon founder Jeff Bezos briefly flew into space. While most of the world’s population was busy fighting a global pandemic on Earth, Bezos was able to leave it behind for eleven minutes. In this year’s edition of Monitoring, the three tech CEOs of the hour merge in a multi-part installation to form a supervillain who is as bizarre as he is obvious. He wants to turn the German small town of Meßkirch into the new hotspot for digital innovation, but his most important employee emancipates themselves and sabotages the plans. While the tech industry is still entertaining expansion fantasies here, the exhibition poses questions about the ruptures in economic and ideological systems: What does Swabian culture have to do with Mark Zuckerberg? What connection do tulip bulbs and Bitcoin suggest? And which mythological figure returns to our present in high heels?

CREDITS

Artists: Erfan Aboutalebi, Sinemsu Ateşoğlu, Elisa Jule Braun & Moritz Stumm, Johanna Brummack, Zhu Changquan, Fritz Eggenwirth, Nadia Granados & Simon(e) Jaikiriuma Paetau, Sophie Hoyle, Yuk-Yiu Ip, Yuyen Lin-Woywod, Josha Lohrengel, Lukas Marxt, Michael Petri & Ralf Lüddemann, Lotte Meret, Bernd Oppl, Anna Ridler, Aykan Safoğlu, Isabell Spengler & Neo Hülcker, N.B. Spiders, sriram srivigneswaramoorthy, Mahardika YudhaVenues: Kasseler Kunstverein, ruruHaus, Südflügel, Kubatur, Stellwerk, Foyer of BALi CinemasHead of Exhibition: Lisa Dreykluft ⦁ Technical Management: Paula Mierzowsky, Assistance: Annagenia Jacob ⦁ Selection Committee: Lisa Dreykluft, Kerstin Honeit, Holger Jenss, Paula Mierzowsky, Franz Reimer, Anna-Lisa Scherfose, Andara Shastika, Olaf Val, Gerhard Wissner Ventura

MONITORING: SOFT POWER

The exhibition Monitoring takes place every year as part of the Kassel Documentary Film and Video Festival and presents artworks which include film, audiovisual, digital or media-critical approaches into installation. [edition 2020]

The year 2020 is marked by a global pandemic, the consequences of which have highlighted worldwide social inequalities even more. In the course of the Black Lives Matter movement, protests against racism and white supremacy became increasingly loud. The demands for a reappraisal of the colonial past of the global North and a critical questioning of previous historiography led to the actual toppling of colonial monuments. In June, for example, demonstrators sunk the statue of the slave trader Edward Colston in the port of Bristol.The exhibition at the Kasseler Kunstverein shows artistic works that deal with the demonstration of power and domination as well as the rhetoric and visual language that form its foundation. How can we even approach an iconography of the so-called “Alt-Right”? And how are we to encounter monuments that tell a story of violence? Whether monuments are turned upside down or only fragmentarily used as a backdrop for selfies, whether it means defying a dress code or unmasking the strategic staging of a nation –
the media installations at the Kasseler Kunstverein formulate various ideas of resistance.Due to coronavirus measures, the exhibition could only take place online.

CREDITS

Artists: Paula Ábalos, Ale Bachlechner, Martin Brand, Jasmina Cibic, Marlene Denningmann, Patricia Domínguez, Frederik Duerinck, Jonas Englert, Michel Esselbrügge, Mazen Khaddaj, Georg Klein, Jan-Luca Ott, Nick Schamborski, Robin Stretz, TERRARISTA TV Productions (Paula Godínez, Anja Kellner, Jay Lee, Echo Can Luo, Alejandra Montoya, Paola Ramirez, Kerstin Rupprecht, Andara Shastika, u. a.), Farid Yahaghi, Nicolas WefersVenues: Kasseler Kunstverein, Südflügel, Kubatur, StellwerkHead of Exhibition: Lisa Dreykluft ⦁ Technical Management: Kristin Meyer, Assistance: Annagenia Jacob ⦁ Selection Committee: Diana Barbosa, Lisa Dreykluft, Kerstin Honeit, Holger Jenss, Franz Reimer, Anna-Lisa Scherfose, Olaf Val, Gerhard Wissner Ventura, Cat Woywod

Monitoring – Exhibition for Time-Based Media Art

The exhibition Monitoring takes place every year as part of the Kassel Documentary Film and Video Festival and presents artworks which include film, audiovisual, digital or media-critical approaches into installation. [edition 2019]

Spread across five locations, this year’s exhibition Monitoring shows twenty works by international media artists with various research approaches.The exhibition at Kasseler Kunstverein investigates, among other things, structures of power and exclusion, order as a social and aesthetic principle, as well as the possibilities and limits of artistic strategies: In what ways can historically volatile images be used to open up new contexts? How do we visually tackle ideological constructions such as that of national identity? How do we speak about topics which shy away from pictoriality? And how can hidden or marginalized perspectives, through artistic processes, be made visible? With the examination of archives, technologies and practices of aesthetic standardization, and following the tracks of violent rhetorics, the installations approach these questions in different ways.

CREDITS

Artists: Ulf Aminde, Veneta Androva, Elko Braas, Cihad Caner, Luna Hirt, Stefan Kreller & Jan Reuter, Kim Kielholfner, Kapwani Kiwanga, Malin Kuht, NEOZOON, Mark Oliver, Jan Peters, Paulette Phillips, Clarissa Thieme, Taietzel Ticalos, Kristin Reiman, Silke Schönfeld, Catharina Szonn, Dagmar Weiß, Clara Winter, Guanyu XuVenues: Kasseler Kunstverein, Treppe 4, Südflügel, Kubatur, StellwerkHead of Exhibition & Technical Management: Lisa Dreykluft, Assistance: Cat Woywod ⦁ Selection Committee: Lisa Dreykluft, Kerstin Honeit, Holger Jenss, Franz Reimer, Eva Scharrer, Anna-Lisa Scherfose, Olaf Val, Gerhard Wissner Ventura

INVOCATION OF DEAD ASSETS

3-channel video installation, objects of styrofoam and latex, print on fabric, publication

in a certain YouTube niche, a mysterious kind of video circulates. These show ghosts, witches, demons, extraterrestrial and paranormal encounters. A number of features suggest that the recordings were made spontaneously or by chance: The image is blurred, the resolution is low and the sound quality is rather poor. The clips were recorded with cell phone cameras, camcorders, dashcams or surveillance cameras. The supernatural subjects are sometimes lost as tiny pixel spots in the field of vision of the CCTV. In fact, unrecognizability seems to be one of the most important indications of the 'authenticity' of these images. The less that can be seen, the closer the assumption that something uncanny is going on there.

Shown in the duo exhibition -=+ with Holger Jenss at Kasseler Kunstverein [2020]

A Séance: how to open up your very own online shop (very easy)

Workshop-Séance

Shown as part of the Performing Arts Festival Berlin, featuring contributions by: Bryana Fritz, Martin Kohout, Ioana Vreme Moser & Igor Stromajer at panke.gallery [2019]

RESTLESS LEGS

Zwei GIF-Animationen

How nice when nothing happens for a change... The evening sun shines in a maximum of 256 colors, forever. GIF animations, which we normally encounter in small format on laptop or smartphone screens, show up as high-resolution projections. With Photoshop, After Effects, Paint 3D, various apps and misused level editors, the three artists approach the medium of painting in an experimental way.

Shown in the exhibition elegante_bilder.gif with Jan-Hendrik Gebbe & Jacob Höfle at LAGE, Kassel [2018]

Dark times call for dark measures

Installation with laptops & headphones, projector, sound system, sheep skins, masking tape

Under the name Only For Special You, a twenty-something shoots YouTube videos in her room, in the woods, or in the nocturnal, small-town surroundings of her home. She tries to counteract anxiety, loneliness and heartbreak with witchcraft and vlogging. However, the dark cloudy sky visible through the window of her claustrophobic four walls does not bode well.

Shown at Stellwerk, Kassel [2017]

ASMR

3-channel video installation

ASMR. The abbreviation stands for “Autonomous Sensory Meridian Response” and also provides the name for Lisa Dreykluft’s video trilogy. Everything here is so nice and colorful. In a flashy but cozy lounge the artist sets a kind of walk-in ASMR-diorama, framed by three large projections. Performing herself, she offers a business mimicry in the video “IT’S NOT ALL ABOUT YOU THOUGH“ and gives a whispered introduction into the world of tingles: Stimuli, which supposedly evoke an emotional sensation and which are readily referred to as “head-orgasms“. An art form in itself – it is nothing less than obvious that ASMR prominence are celebrated as artists in the online community. Additionally, Dreykluft does not leave out the common ingredients for the tingle recipies: Impressive finger nails, which in a video close-up tamper all kinds of objects, preferably synthetics. It does not only look good but it also sounds great. Rather atypical for this recreational format, however, is the very first – seemingly intimate – message to the viewer from the ASMR artist persona aka the artist: “I’m not feeling so good myself.“ The title is present again – this is not about me or my need for relaxation, just the contrary. With her three channel installation Dreykluft encourages work in a poetic-humorous and seductive way. I, as a viewer and consumer, am constantly challenged to situate myself in this artificial cosmos of cool beats and late capitalist fetish objects in the confusion between desire and rejection.Excerpt from Kerstin Honeit's text for the exhibition *Monitoring, Kasseler Dokfest 2016

Shown in the exhibition Monitoring with Jasmina Cibic, Karin Fisslthaler, Verena Friedrich, Paula Godínez, Fabian Kühfuß, Angelika Levi, Lotte Meret, Julia Novacek, Ria Pacquée, Johanna Reich Anette Rose, Ariana Waldner Bingemer, Maya Watanabe & Paul Wiersbinski, 33rd Kassel Documentary Film and Video Festival [2016]

WALKING WITH DINOSAURS

two photographs, digital print on aluminium dibond, framed, [2015]

A place that was exactly here and yet long gone was eventually called Pangea. This land before our time seems to be a place of longing for many people. Inhabiting this fictionalized time-space are huge creatures, the dinosaurs. There is a certain mystique surrounding their bodies, whose actual appearance can only be speculated based on fossilized remains. In numerous books and films, and not least in a billion-dollar franchise, they are constantly resurrected. However successful the animals may be animated, nothing will ever bridge the gap of longing to actually encounter them.

Shown in the exhibition The Land before Time with Linus Clostermann & Victor von Boltenstern at Salon Similde, Leipzig [2024]

MY PRACTICE

I organise exhibitions. In the past, my own artistic work was at the centre of my practice; today, I am primarily active as a curator. One of my focal points is time-based media and moving images. From 2019 to 2021, I directed the media art exhibition Monitoring at the Kassel Documentary Film and Video Festival. Occasionally, I curate the annual exhibition of the Graduate School for Moving Images: Analog Realities, Digital Materialities. The Graduate School is a postgraduate, interdisciplinary research programme for artists, designers, and filmmakers at Kunsthochschule Kassel.In my curatorial practice over the past several years, I have sought dialogue with people who perceive and experience the world in different ways, and who are often confronted with barriers, exclusion, and/or violence. I am interested in how their knowledge can be expressed through artistic work, made visible in exhibitions, and made accessible to diverse audiences.Since 2025, I have been part of the team of KV — Verein für zeitgenössische Kunst Leipzig.

CURATORIAL PROJECTS

2025 ⦁ MESSAGES FOUND IN AN ANTHILL, KV – Verein für zeitgenössische Kunst Leipzig & Durchblick e.V. Leipzig 2024 ⦁ GBB_edits #3: Desire Across the Disciplines, Exhibition Area of Kunsthochschule Kassel 2023 ⦁ There is no such Thing as Health, Durchblick e.V. Leipzig ⦁ GBB_edits #1, Exhibition Area of Kunsthochschule Kassel 2022 ⦁ (Interim) Results of an Interdisciplinary Collaboration: Governmental Nature Conservation and VisKom Kunsthochschule Kassel ⦁ OSTEN Festival, Kulturpalast Bitterfeld 2021 ⦁ Monitoring: Myth and Microgravity, 38. Kassel Documentary Film and Video Festival [Head of Exhibition] 2020 ⦁ Monitoring: Soft Power, 37. Kassel Documentary Film and Video Festival [Head of Exhibition] 2019 ⦁ Monitoring, 36. Kasseler Kassel Documentary Film and Video Festival [Head of Exhibition] 2018 ⦁ Monitoring: You Are Being Watched, 35. Kassel Documentary Film and Video Festival [Member of Selection Committee]

COORDINATION & TEACHING

2022 ⦁ Theory and Practice of Visual Communication / Foundation Class, Kunsthochschule Kassel 2020–2022 ⦁ Cooperation project between the department of Visual Communcation at Kunsthochschule Kassel and representatives of the KLIMA Team of the Upper Nature Conservation Authority since 2019 ⦁ Coordination of the Graduate School for Moving Images: Analog Realities, Digital Materialities, Kunsthochschule Kassel 2018–2019 ⦁ Technical Management of Monitoring – Exhibition for Time-Based Media Art, Kassel Documentary Film and Video Festival

SHOWCASING OWN WORKS

2024 ⦁ The Land before Time, Salon Similde, Leipzig 2022 ⦁ Tolerance Day, Maison des Arts de Créteil 2021 ⦁ Kasseler Atelierrundgang MOOI MOOI 2020 ⦁ Windowshop, Autohaus Autohaus, Kassel ⦁ Invocation of Dead Assets/Recent Items (-=+), Kasseler Kunstverein 2019 ⦁ Thresholds Performance Festival/Verein 701, Golzheimer Friedhof, Düsseldorf ⦁ Performing Arts Festival Berlin, panke.gallery ⦁ Kasseler Atelierrundgang, study room ⦁ FIPADOC, Biarritz 2018 ⦁ And what about your “Good Morning, New World”?, CAA ART MUSEUM, Hangzhou ⦁ Hungry Eyes Festival, Alte Universitätsbibliothek, Gießen ⦁ elegante_bilder.gif, LAGE, Kassel ⦁ Don't Show Again, Reaktor, Vienna 2017 ⦁ Examen 2017, documenta Halle, Kassel ⦁ Dark Times Call for Dark Measures, Stellwerk, Kassel ⦁ Relaxation Room, Stellwerk, Kassel ⦁ Softworking, Kunsthochschule Kassel ⦁ No working Title (Tate Exchange) Tate Modern, London ⦁ Karnak, Kassel ⦁ Elles Tournent Festival, Brussels 2016 ⦁ Images de Femmes, Neimünster, Luxembourg-Grund ⦁ Short Film Program, Val-de-Marne Regional Hall, Créteil ⦁ An Outcast Bonding Experience, oriental supermarket Hai Na, Bath ⦁ Tantamount, Sion Hill Gallery and Walcot Chapel, Bath 2015 ⦁ Ladyfest, Kassel ⦁ Mostra Internacional Films de Dones, Barcelona ⦁ Politique 2 l’ Accrochage, Interim, Kassel ⦁ Rundgang der Architektur - Stadtplanung -Landschaftsplanung, Universität Kassel 2014 ⦁ Filme ohne Sprache, Caricatura, Kassel ⦁ Kasseler Museumsnacht ⦁ Bimovie, Munich ⦁ Ladyfest, Brussels ⦁ Festival International de Films de Femmes de Créteil ⦁ Internationales Frauen Film Fest Dortmund+Köln 2013 ⦁ Kassel Documentary Film and Video Festival ⦁ Elles Tournent, Brussels ⦁ Die Reise zum großen Attraktor, Interim, Kassel ⦁ Politique de l’Accrochage, Institut Supérieur des Arts, Toulouse

COORDINATION & TEACHING

2022 ⦁ Theory and Practice of Visual Communication / Foundation Class, Kunsthochschule Kassel 2020–2022 ⦁ Cooperation project between the department of Visual Communcation at Kunsthochschule Kassel and representatives of the KLIMA Team of the Upper Nature Conservation Authority since 2019 ⦁ Coordination of the Graduate School for Moving Images: Analog Realities, Digital Materialities, Kunsthochschule Kassel 2018–2019 ⦁ Technical Management of Monitoring – Exhibition for Time-Based Media Art, Kassel Documentary Film and Video Festival

EDUCATION

2021–2023 ⦁ MA Cultures of the Curatioal, Academy of Fine Arts Leipzig (HGB) 2011–2017 ⦁ MFA Fine Arts, Kunsthochschule Kassel & Bath School of Art and Design (UK)

Lisa Dreykluft
Käthe-Kollwitz-Straße 12
04109 Leipzig[email protected]Instagram

Impressum

Lisa Dreykluft
Käthe-Kollwitz-Straße 12
04109 Leipzig[email protected]

Urheberrechtshinweis

Copyright 2025 Lisa Dreykluft. Alle Rechte vorbehalten.
Texte, wenn nicht anders angegeben, von Lisa Dreykluft.

Bildnachweise

Die Urheber*innen sind beim Aufrufen der Bilder in den Captions nachzulesen.

Haftung

Die Seiteninhaberin übernimmt keine Verantwortung für die in externen Links geäußerten Ansichten oder Inhalte.

Datenschutzerklärung

Verantwortlicher im Sinne der Datenschutzgesetze, insbesondere der EU-Datenschutzgrundverordnung (DSGVO), ist:Lisa Dreykluft
Käthe-Kollwitz-Straße 12
04109 Leipzig
[email protected]

IHRE BETROFFENENRECHTE

Unter den angegebenen Kontaktdaten unseres Datenschutzbeauftragten können Sie jederzeit folgende Rechte ausüben:- Auskunft über Ihre bei uns gespeicherten Daten und deren Verarbeitung (Art. 15 DSGVO),
- Berichtigung unrichtiger personenbezogener Daten (Art. 16 DSGVO),
- Löschung Ihrer bei uns gespeicherten Daten (Art. 17 DSGVO),
- Einschränkung der Datenverarbeitung, sofern wir Ihre Daten aufgrund gesetzlicher Pflichten noch nicht löschen dürfen (Art. 18 DSGVO),
- Widerspruch gegen die Verarbeitung Ihrer Daten bei uns (Art. 21 DSGVO) und
- Datenübertragbarkeit, sofern Sie in die Datenverarbeitung eingewilligt haben oder einen Vertrag mit uns abgeschlossen haben (Art. 20 DSGVO).Sofern Sie uns eine Einwilligung erteilt haben, können Sie diese jederzeit mit Wirkung für die Zukunft widerrufen.Sie können sich jederzeit mit einer Beschwerde an eine Aufsichtsbehörde wenden, z. B. an die zuständige Aufsichtsbehörde des Bundeslands Ihres Wohnsitzes oder an die für uns als verantwortliche Stelle zuständige Behörde.Eine Liste der Aufsichtsbehörden (für den nichtöffentlichen Bereich) mit Anschrift finden Sie unter: https://www.bfdi.bund.de/DE/Service/Anschriften/Laender/Laender-node.html.

Verwendung von Scriptbibliotheken (Google Webfonts)

Um unsere Inhalte browserübergreifend korrekt und grafisch ansprechend darzustellen, verwenden wir auf dieser Website „Google Web Fonts“ der Google LLC (1600 Amphitheatre Parkway, Mountain View, CA 94043, USA; nachfolgend „Google“) zur Darstellung von Schriften.Weitere Informationen zu Google Web Fonts finden Sie unter https://developers.google.com/fonts/faq und in der Datenschutzerklärung von Google: https://www.google.com/policies/privacy/.

SSL-Verschlüsselung

Um die Sicherheit Ihrer Daten bei der Übertragung zu schützen, verwenden wir dem aktuellen Stand der Technik entsprechende Verschlüsselungsverfahren (z. B. SSL) über HTTPS.

Information über Ihr Widerspruchsrecht nach Art. 21 DSGVO - Einzelfallbezogenes Widerspruchsrecht

Sie haben das Recht, aus Gründen, die sich aus Ihrer besonderen Situation ergeben, jederzeit gegen die Verarbeitung Sie betreffender personenbezogener Daten, die aufgrund Art. 6 Abs. 1 lit. f DSGVO (Datenverarbeitung auf der Grundlage einer Interessenabwägung) erfolgt, Widerspruch einzulegen; dies gilt auch für ein auf diese Bestimmung gestütztes Profiling im Sinne von Art. 4 Nr. 4 DSGVO.Legen Sie Widerspruch ein, werden wir Ihre personenbezogenen Daten nicht mehr verarbeiten, es sei denn, wir können zwingende schutzwürdige Gründe für die Verarbeitung nachweisen, die Ihre Interessen, Rechte und Freiheiten überwiegen, oder die Verarbeitung dient der Geltendmachung, Ausübung oder Verteidigung von Rechtsansprüchen.

Empfänger eines Widerspruchs

Lisa Dreykluft
Käthe-Kollwitz-Straße 12
04109 Leipzig
[email protected]

Änderung unserer Datenschutzbestimmungen

Wir behalten uns vor, diese Datenschutzerklärung anzupassen, damit sie stets den aktuellen rechtlichen Anforderungen entspricht oder um Änderungen unserer Leistungen in der Datenschutzerklärung umzusetzen, z.B. bei der Einführung neuer Services. Für Ihren erneuten Besuch gilt dann die neue Datenschutzerklärung.Die Datenschutzerklärung wurde mithilfe der activeMind AG erstellt, den Experten für externe Datenschutzbeauftragte (Version #2020-09-30).

Coming soon! I'm working on the english version :)