East Berlin/Berlin

Florian Goldmann works in the fields of visual arts, artistic research and media theory. He studied Sculpture, Media Art and Experimental Film in Edinburgh, Athens and Berlin, graduating from Berlin University of the Arts in 2012. From 2014 to 2018 he was a fellow at the Research Training Centre ‘Visibility and Visualisation – Hybrid Forms of Pictorial Knowledge’ as well as the Brandenburg Centre for Media Studies at Potsdam University. In 2015 he was a Humanities Fellow at Akademie Schloss Solitude, Stuttgart. In 2019 he was an artist in residence in the residency program of Nakanojo Biennial, Japan as well as at Künstlerdorf Schöppingen, Germany.

A major focus of his work is on the circumstances under which prominent narratives of history are established, concurrently omitting other potential narratives. In this context sculptural works and multimedia installations were developed that look at the means of protecting and rendering visible archeological sites (Das Erinnerungsjoch, 2012) or at conceptions of history in East Germany and their perception in reunified Germany (Bildnis Thomas Müntzer, 2011).
In 2012 Flexible Signposts to Coded Territories (AKV Berlin) was published, in which the graffiti of football fans in Athens is analyzed for its potential function as a system of fluid signage. Since the book’s publication, the project has been adapted for exhibitions in Berlin (Kongress der Artikulation, Kunstraum Kreuzberg/Bethanien, 2014), Seoul (Micro City Lab, Indie Art Hall Gong, 2016) and Venice (Architectural Ethnography, Japan Pavilion at the 16th International Architecture Exhibition, 2018).

Since 2013, Goldmann’s research is largely concerned with catastrophe modeling, investigating how historical as well as future events of catastrophe are visualized and imparted, commemorated and predicted, with a particular focus on the role that models and modeling processes play in these contexts. Results were shown in a solo exhibition in Tokyo (Modeling Catastrophe – A Test Arrangement, Studio 1-8-5, 2013) and in group exhibitions (e.g. at Distant Observations. Fukushima in Berlin, Kunstraum Kreuzberg/Bethanien, 2015; Deep Inside, 5th Moscow International Biennale for Young Art, 2017; Nakanojo Biennial, Japan 2019 and as part of Tipping Point, Memphis Art Space, Linz, Austria 2021).
In conjunction with Goldmann’s contribution to Nakanojo Biennial in 2019, Modeling Catastrophe. Preliminary Remarks (AKV Berlin) was published in both English and Japanese.

Working with the collective STRATAGRIDS (2012—2018, currently at rest) contributions to publications and exhibitions were developed (e.g. for the Anthropocene Project and Demonstrations, A Matter Theater at House of the Cultures of the World Berlin, 2014; Width Gap Infinitude at Minibar, Stockholm, 2016 and as part of How the Bauhaus Came to Weimar. An Archive of Heat and Cold, at the Thuringian State Archaeological Museum, Weimar 2018).