„Die Dresdner Stiftung Kunst & Kultur der Ostsächsischen Sparkasse Dresden vergibt, gemeinsam mit dem Programm »Deutschlandstipendium«, jährlich zwei Projektstipendien an herausragende Meisterschülerinnen und Meisterschüler der Hochschule für Bildende Künste Dresden. Die Ausgezeichneten des Jahres 2025/2026 sind Martin Bertelmann und Angelina Seibert. Im Anschluss an ihre Förderzeit präsentieren sie aktuelle Werke im Projektraum der Städtischen Galerie Dresden.“
I have shown new works Payment unsuccessful and Handles. M26 in the Kunsthalle Oktogon, University for Visual Arts Dresden, Post Graduate Degree exhibition.
Payment unsuccessful, 2026 is an installation made up of wood, ceramic, brick, mirror
it is about 90cm x 215cm and 100 cm x 250 cm big.
Two facing adjacent walls face eachother. One
covered with mirrors and a handmade sink. The other with handmade ceramic tiles. This piece stems from the work Responsibility is the ability to respond. On the tiles is written in backwards writing
Payment unsuccessful. It refers to my financial
situation and how it worries me waking up to face myself every morning.
But lets face it. The personal is politcal. The viewer finds their reflection and becomes a part of the art work, leaving the meaning open.
When I met my husband, it was in the age of the small Nokia, just right before smart phones became a thing everyone had. The phone got lost and broken, but resurfaced after a decade. These are the messages I wanted to keep around and not have get lost again. When we first met, exchanging these texts, can now potentially become the nexts artifacts of the next millennia.
In this 15 minute performance, I recite a divine feminine affirmations meditation while folding laundry..
I am a sacred being.
I am tuned into my sensuality.
I love my Body.
More and More I exude beauty and grace.
I am a sacred being. I enjoy my sexuality. I fall inlove with my beauty. I am fully embodied, I relish in my sexual feelings. I am a sacred being. I embrace my emotions with love. I am open to intimacy and sacred touch. I honor my desires in a nurturing way. I feel pleasure in my body. I am receptive. My feminine nature enjoys movement and flow. I am a sacred being. I connect with others with ease now. I feel safe being connected. I honor my sexual desires. Like water I am powerful, fluid and flexible. I am a sexual being. I allow myself to enjoy the sweetness of life. As a woman I have incredible attracting powers. I feel my desires now, I am aware. I am a sacred being. I admire my favorite places of my body. It is safe for me to feel all of my feelings. In relationships I maintain my own goddess center. I feel empowered in my feminine nature. Healing energy flows through my womb space. I am a sacred being.
I recite the affirmations until I am no longer visible, but you can still hear me
During my final semester at the University of Visual Arts Dresden, I was able to partake in a workshop about archives. In the Catalogue below is the description of the works of all the Students involved. I was able to also help out with the design.
Below the PDF which is downloadable is the actual video I produced for the exhibition. These days are gone, 2025.
2022, Towels and metal, five times ca. 350 cm x 50cm
The towers of neatly folded towels, burp cloths and flannels are stacked metres high. The bright colours of the washcloths can in no way conceal the nerve-racking thought of never- ending housework. In her artistic work, Angelina Seibert deals with her personal role as a mother of three children. The challenge of running a household as a mother of three and at the same time, working as an independent artist, opens up a broad spectrum of experiences of adversity, barriers and pol- itics for Angelina Seibert, from which she draws upon artisti- cally. With multimedia works and performances, in which she often works with the motif of repetition, the exercise of main- tenance work or the involvement of her family as actors, she makes the realities of housework, care work and education visible: What does it mean to be a good housewife, mother and at the same time a good artist? What expectations must you live up to? What protocol does one have to follow? Which of our own patterns and traumas accompany us and how are these passed on to the next generation?
inkjet on Kappa plate, dust sweeper, building blocks, Lego 50 x 80 x 30 cm x2
This is the sister piece to overextending myself.
I wanted to make life-size
elements of myself on which where I am frozen in time, while I clean something in the room.
I wonder from which perspective the individual perspective from which the individual parts of me
are working (and distributed).
Overextending myself 2025
inkjet on Kappa plate, dust sweeper, tea towels 120 x 280cm
On entering the gallery space we talked about the disturbance caused by this very large heating element. I wanted to install it in a work immediately. This is where I got frozen in time
overextended myself to fulfill the needs and solve the problem
this white cube nightmare Solving it by being responsible and dusting it off.
BIAS FLINTA projects room in cooperation with Darius Sidlauskas
( SD drua ), Dresden
Two people running around in a circle for over an hour. One person is marching from bucket to bucket filled with mud and dirt, while the other person is cleaning the mess from behind only for it to be walked over again. The cycle continues. The two people in the room are loud. The marching is almost like a machine, pounding away. The person cleaning is sighing from exhustion and breathing heavily due to the cleaning effort. Both people to tired from the marching and the cleaning but continue on. The person doing the cleaning is hanging up the sheets used, creating a barrier, a wall. Viewers can no longer see the people caught cleaning and marching. Etwas Ausbaden is german for to take the blame, to pay for it. While upon hearing the phrase, I noticed how odd it is that it has something to do with the dirty bath water. I learned that families in the past shared a bath. The man of the house would go first to bathe in the clean water, and so on the heirarchy of the family had to bathe in the dirty water of who came before. The one who is last, normally the slave child who bears the brunt and has to also clean the bath at the end. This system, is still very much how we structure our lives around still, and it is us, who have to pay for it and pour out the dirty water.
My father ignoring Tracy Emin, 2016. Linoleum print 160 cm x 200 cm.
Two people viewing David Wojnarowicz’s Cal ( Factory Head ), 2016. Linoleum print, 180 cm x 200 cm.
Gallerist at work, 2016. Linoleum print 200 cm x 130 cm.
exhibition view Eine frage der nähe/ a Question of closeness, Kunsthaus Dresden, Eine Frage der NäheExhibition view of Lonely Mom world at kulturwerkstatthaus; LuckenwaldeBricks, exhibition view at Discovery Art Fair, Frankfurt am Main
