Dagmar Buhr’s works are conceived with a specific location in mind and realized in situ. In terms of both space and content, they engage with their exhibition sites, their identities, and their surroundings. They often operate in the gray area between institutional and public space—or at the intersection of interior and exterior spaces—where they shift the functions and accessibility of these spaces or allow them to merge, thereby entering into a dialogue with chance passersby. 

In public or semi-public spaces—sometimes as an extension of institutional exhibitions—her works manifest as infiltrations that need not be immediately recognized as art, but can be sensed. Real or artificial spaces that are still commonly associated with masculinity—such as soccer stadiums, sex shops, or men’s magazines—are taken over or infiltrated as a matter of course, without explicitly positing this as a feminist act.

Language, texts, and words are central elements in Dagmar Buhr’s artistic practice: as research material, as semantic material in the process of fragmentation and recontextualization, and as a starting point for the development of visual form in the chosen medium. Language becomes a pictorial material that—when given a clear form—contrasts with associative thinking. What is missing is just as relevant as what is present. Language is fragmented, recontextualized, and left to the viewers’ associative imagination. 

Her exhibition venues include the Neues Museum Nürnberg, Kunsthalle Nürnberg, Neue Galerie Dachau, Neuer Kunstverein Regensburg, Lichtenberg Studios Berlin, das weisse haus in Vienna, Salzburger Kunstverein, Galerie 5020 Salzburg, and the Deutsche Haus in New York. She received a grant from the Stiftung Kunstfonds; she has created public art installations for venues including the Jewish Museum in Fürth. 

Citizenship: Germany
Discipline: Visual Arts
Residence: Session 6 (10.08.-13.09.2026)