About
Langer's artistic work explores memory as a process of recall, storage, and transformation within the context of cultural conditioning. Rooted in her socialization in the GDR, she specifically examines the significance of clothing and fabrics as expressions of personal identity. Improvised craft techniques, fabrics, dyes, and glass merge into experimental painting.
The artists fascination with traditional craft techniques — often associated with women’s work — extends into her material choices and processes. Fabrics are dyed, woven, and sewn, while Langer deliberately manipulates and interrupts these processes, sometimes attempting to reverse or randomize them. For her, the canvas becomes clothing — a flexible, ever-changing surface that visibly shows the marks and layers of its creation.
Glass, on the other hand, serves as both ornament and a symbol of suspended time. It possesses the softness and fluidity of fabric in appearance, yet it remains distant and fragile. This duality intrigues Langer, as glass brings together the domestic and the luxurious, combining the everyday with the exceptional. Once a rare and precious material, glass has become ubiquitous in our high-energy era, yet it still carries with it the memory of its artisanal origins.
Memory, in Langer’s perspective, is not a stable archive but an active, generative process. Each act of recall transforms the original experience, creating variations with every iteration. When past experiences are revisited — whether through introspection, dialogue, or external influence — they accumulate new layers and meanings, challenging the reliability of stored information. Just as the imperfections in a printed pattern symbolize individuality amidst uniformity, each recollection becomes a subtle reconfiguration of what once was. This dynamic nature of memory mirrors the constant flux of cultural narratives: while some voices are silenced or altered by bias, others persist, offering fertile ground for reinterpretation and reconfiguration. In this way, Langer’s work not only addresses the physical transformation of materials but also the social and political processes that shape how memories are recorded, shared, and sometimes denied.
Her engagement with the materiality of craft and the idea of canvas as clothing also opens a
broader interrogation of gendered
narratives surrounding memory. In many cultural contexts, women’s recollection is devalued: stereotypes often
attribute poorer memory performance to women, with dismissive terms like “pregnancy dementia” trivializing the
cognitive experiences during pregnancy. Furthermore, practices such as the administration of substances that impair
memory underscore a disturbing dynamic — where the very capacity to remember is regulated and diminished in women.
For Langer, these phenomena resonate on a symbolic level. They not only expose how personal and collective
memory is
selectively acknowledged but also reveal the mechanisms through which women's voices and experiences are
marginalized. Such interventions into memory parallel the way in which traditional craft has long been undervalued,
prompting a reexamination of whose recollections are deemed reliable or worthy.
Contact
CV
- since 2023
- Artistic Associate Glass
Burg Giebichenstein University of Art and Design, Halle - 2019 - 2022
- Development of the artistic material Basis Rho in collaboration with institutions including the Universität der Künste Berlin (UdK), Bundesanstalt für Materialforschung und -prüfung (BAM)
- 2017 - 2022
- artist duo Jeschkelanger
- 2004 - 2012
- Masterclass Student & Diploma in Fine Arts Academy of Fine Arts Dresden
Awards & Grants
- 2023
- Scholarship from the Alexander Tutsek Foundation
- 2020
- Neustart Kultur Grant, Art Fund Foundation (Stiftung Kunstfonds)
- 1st Prize, Material Award for Basis Rho, raumprobe Stuttgart
- 2019
- Creative Prototyping Scholarship, University of the Arts Berlin (UdK)
- 2006
- Erasmus, Accademia di Belle Arti di Roma
Shows
- 2025
- ghost vs. ghost #2, Galerie A.M.180, Prague
- Lightning Bolts - Different Stories, Same Mistakes, glue, Berlin
- 2024
- unum, aliquid - das sieht man immer, wenn man hier ist, Eiscafe Venezia, Berlin (solo)
- 2022
- Fragmented ID, Sharp Projects, Copenhagen (solo)
- Golden Taste of Glass, Studio 4 Berlin, Berlin (solo)
- Positions Berlin, Anahita contemporary
- STILWERK @Kantgaragen, curated by Anahita contemporary, Kantgaragen Berlin
- P.O.C., Brussels (collection/permanent exhibition)
- Collectible, Brussels
- 2021
- S*HEROE S, Anahita contemporary, Berlin
- Small Sculptures, Sharp Projects, Copenhagen
- We Melt Before It Forms, Galerie Britta Rettberg, Munich
- Avalanche, PAL Project, Paris
- Material Matters, The Platte, Berlin
- Edit No. 3 @ Vico San Domenico Maggiore, Naples
- Startbahn, Genezarethkirche Neukölln, Berlin
- Positions Berlin, Material Matters
- 2020
- Polymere Entspannung, Solo Showcase, Luzia, Berlin (solo)
- Confetti But Forever, Direktorenhaus Museum for Art, Architecture and Design, Berlin (solo)
- New Traditions, curated by William Bagnoli for Adorno (online)
- Edit No. 2 @ Vico San Domenico Maggiore, Naples
- 2019
- Washing Elements (constantly looping), Neues Kunsthaus, Ahrenshoop (solo)
- #siostrzane_odbicie / #sister‘s_reflection, SIC! - BWA Museum, Wroclaw (solo)
- empty_glass_05, Ca ‘Sagredo, Venice (solo)
- empty_glass_04, bbk Atelierwohnung, Berlin (solo)
- Anecdotes on Origin, A plus A gallery, Venice
- Open art competition for public art, BMI expansion, Federal Office for Building and Regional Planning, Berlin
- 2018
- After Eight (midlife crisis grey chambers), Burg Klempenow, Klempenow (solo)
- empty_glass_03, Le Wonder, Paris (solo)
- empty_glass_02, Holzmarkt, Berlin (solo)
- 2017
- empty_glass_01, Studio Jeschkelanger, Berlin (solo)
- Washing Elements, The Others, Turin
- Contact Zone - airblob no bones, L‘etrangerè, London
- Don‘t dance it down boys, Clovis XV, Brussels
- Enrico - Autoaction in rehearsals, Display, Berlin
Publications
- 2024
- von hundert #38 , Weniger-Spezial, Über künstlerische Ausstiegsszenarien von Soline Krug
- 2023
- AD, Gerettet! So kreiert Jeschkelanger Studio außergewöhnliche Möbel und Accessoires aus Glasresten und Beton
- 2022
- Uncanny Entrepreneurship, hg. Hänsch. K, Nelke, L., Planitzer, M., Hamburg, Textem Verlag
- AD Magazin, Best of Germany, talent section
- 2021
- Kunstaspekte, We Melt Before It Forms
- Artviewer, We Melt Before It Forms at Galerie Britta Rettberg
- 2020
- Handmade in Germany - Manufaktur 4.0, Deutscher Meisterrat (Hrsg.), Arnoldsche Verlag
- Stirworld, Jeschkelanger on Basis Rho, a design material created from leftover glass
- AD, Jeschkelanger schenkt Glasresten von Olafur Eliasson & Co. ein zweites Leben
- 2019
- Süddeutsche Zeitung, Von der Kunst zu leben
- FAD, interview for empty_glass_05
- Magazyn Szum, #siostrzane_odbicie
- Tagesspiegel, Kunst als Geschäftsidee: Malen mit Glas