Stadtkuratorin
Leipzig

The symposium “Safer Spaces in Public Space – Art as a Medium and Method” addressed the development of new formats and production conditions in public space for FLINTA* (women, lesbians, intersex, non-binary, trans, and agender people) and BIPoC (Black, Indigenous, and People of Color), with the aim of strengthening their capacity to act. The discussion focused on how spaces of empowerment and remembrance can be created, where FLINTA* and migrant communities become more visible, and how new free spaces – especially in the east of Leipzig – can be opened up through cultural activities. The symposium was primarily aimed at FLINTA*, BIPoC, and their supporters, as well as at professionals from the cultural and socio-cultural fields.

On the first day, following brief keynote speeches, all attendees were invited to take part in a panel discussion and open exchange to explore different perspectives on safer spaces through art.

In the first keynote, Anike Joyce Sadiq spoke from the perspective of a BIPoC visual artist about the contexts and conditions of artistic production, using two of her projects as examples. As an introduction, she posed the question of whether the concept of “safer spaces” can create a false promise — and whether it ultimately always comes down to weighing acceptable risk.

Her work Utopian Institution (2022) is a survey distributed to employees of art institutions before the start of a collaboration. The outcome is a letter addressed to the artist, reflecting on the institution’s status quo regarding working conditions, equality, diversity, and accessibility.

The work Denkmalschutz aufheben from the same year was developed in response to participation in the international art competition Colonial Monument Braunschweig. The monument, originally erected during the imperial era as a memorial to Germany’s former colonies and the soldiers who died there, was to be contextualized through the competition. However, the call for submissions clearly stated that the monument must not be removed or concealed. The fact that monument protection laws prevented any artistic intervention that would alter the physical substance of the monument stood in contradiction to the declared goal of addressing German colonial history — and exposed a fundamental mistrust toward the artists involved. Anike Joyce Sadiq’s submission consisted of a formal application to revoke the monument’s protected status, intended as a potential model for similar future processes. This was accompanied by a book documenting the project and situating it within a broader postcolonial discourse through a series of contextual essays.

Marlen Försterling and Christiane Kornhaß from the Office for Housing and Urban Renewal spoke about the challenges and opportunities of gender-sensitive urban planning, which aims to ensure gender equality in the design of public spaces. In collaboration with other municipal departments and civil society organizations, they are developing district-specific concepts for Leipzig.

After a historical overview of Leipzig’s urban development — which was predominantly shaped by men for a male, working-class population — they introduced the concept of gender planning. This approach seeks to design public spaces that meet the needs of all social groups and genders, promoting an equitable distribution of resources. This includes short walking distances for older people, safe school routes for children, open spaces for young people, accessible pedestrian zones for parents with small children, and barrier-free access for people with physical disabilities — a group that comprises around 17.1% of Leipzig’s population.

Negative examples from Leipzig’s urban space include the lack of public toilets for FLINTA*, swimming pools with transparent glass walls where many users feel uncomfortable, and parking areas or open spaces that are difficult to navigate with strollers or wheelchairs. Areas perceived as unsafe, such as dark underpasses, were also criticized.

Positive examples of gender-sensitive planning include the new playground in Leipzig’s Palmengarten, which was designed with consideration for different age groups and supports caregivers looking after multiple children. Another playground has been created specifically for children who use wheelchairs — though access is not yet fully barrier-free. The skate park in Grünau reserves specific time slots for FLINTA* and wheelchair users in order to create safer spaces for these groups. The lighting system at Plagwitz station, which only activates when the path is in use and is therefore minimally disruptive to insects, was highlighted as a successful compromise between environmental protection and the reduction of fear-inducing spaces. However, heritage protection regulations often present a barrier to the implementation of accessible pathways.

Zeran Osman reported on the Offener Prozess (“Open Process”) project and the work on the pilot documentation center on the NSU complex in Chemnitz. Between 2000 and 2007, the NSU (National Socialist Underground) committed ten racially motivated murders, numerous attempted murders, bombings, robberies, and arson attacks. Five main perpetrators were convicted in 2018, yet the total number of participants and supporters is estimated to be in the hundreds. The victims and their families were also subjected to institutional racism by the media, the authorities, and the Office for the Protection of the Constitution. Since then, initiatives such as NSU-Watch and neue unentdeckteunentd_ckte narrative (“new undiscovered narratives”) have been working to address the crimes and their broader context, in response to civil society’s call for “no closure.”

The traveling exhibition Open Process was created to bring this topic into the public sphere. Curated by Ayşe Güleç and Fritz Laszlo Weber, and produced by Hannah Zimmermann and Jörg Buschmann, the exhibition will be shown at the pilot documentation center in Chemnitz starting next year. It explores the NSU complex, migration histories, the ongoing presence of right-wing violence, as well as forms of resistance — and is accompanied by a comprehensive educational program. The project also organizes symposia, a fellowship program in Istanbul, and engages in networking and remembrance work. One initiative, Re:member the Future, is developing a memorial in Chemnitz for the victims of right-wing terror. Following a feasibility study and an extended dialogue with the city about a physical memorial, a digital memorial is now being developed.

In collaboration with the organizations RAA Sachsen and ASA-FF, a concept was developed for a documentation center on the NSU complex in southwest Saxony. The pilot center, envisioned as a learning space that could serve as a model for a future national center, is now being launched in Chemnitz. By 2025, a multifunctional venue will be created, featuring several components: The Assembly as a safer space, an exhibition on the NSU complex, an educational program, a research archive, and a cooperative project with police and public administration to promote awareness. All aspects of the project are being developed in close cooperation with various initiatives and experts.

In the subsequent panel discussion, moderated by Tania Kolbe and featuring keynote speakers Marlen Försterling, Christiane Kornhaß, Zeran Osman, and Anike Joyce Sadiq, individual topics from the presentations were explored in greater depth. Anike Joyce Sadiq raised the question of how we construct our identities and which historical continuities are reflected in public monuments and memorials. She emphasized that monuments can themselves be sources of violence. Marlen Försterling and Christiane Kornhaß spoke about the challenges surrounding the term “gender planning” in different contexts, the complexities of public procurement processes, and the tension between the privileges of European cities and the creative constraints imposed by heritage preservation laws. They advocated for more resources to initiate effective planning processes and meaningful participatory procedures. Zeran Osman described Chemnitz as both an exciting and ambivalent location, and highlighted art as the medium of choice for storytelling and emotional resonance.

During the discussion on diversity, Anike Joyce Sadiq pointed out that the concept is increasingly being misused as a buzzword and marketing strategy, rather than as a tool for genuine inclusion and a reflection of interpersonal values. Marlen Försterling and Christiane Kornhaß called for more networking and a shift in perspective in order to make planning processes more diverse. Zeran Osman underlined the importance of allocating time and funding for translation, subtitling, and internal organizational processes.

Key factors in creating safer spaces in both urban environments and the arts included: a culture of dialogue, empathy, discrimination-sensitive language, access to education, the ability to manage expectations, institutional flexibility, and clear responsibilities. As concrete wishes for safer spaces for artists and cultural workers, participants called for greater solidarity, trust in art, openness to uncomfortable conversations, true diversity, supportive framework conditions, and the promotion of positive developments.

The evening concluded with a DJ set by Jasmina, informal conversations, and drinks from the bar.

The second day featured a series of moderated discussions. In the workshop discussion, Karoline Schneider posed the question: “How can art be used to create safer spaces in public space?” while Senja Brütting addressed the topic of “(In)security for BIPoC and FLINTA* in artistic work in public spaces.” Following a communal Küfa (kitchen for all) hosted by the Japanese House, the day concluded with a performance by Senja, amaze, Aïsha, and Sakin.

You can find a detailed report on the discussion format with Senja Brütting in the library. Further reports on the 2nd symposium day will follow soon.

Many thanks to all contributors and guests!