The exhibition  „Margot und die anderen – Forced Sterilization in National Socialism“ focuses on the cruel practice of forced sterilizations of people who did not fit into the racist, inhumane system of the Nazi regime, and writes a local history of Wiesbaden that has so far received little attention – the story of the so-called Rhineland children, who were sterilized on oral order in „Secret Reich Affair“, simply because they looked different, because they had the „wrong“ fathers, because they were not „German“ enough. The exhibition places particular emphasis on writing the individual stories of the Wiesbaden children while also illuminating the issue of forced sterilization in Nazi unjust legislation. Last but not least, the exhibition project raises the question of what it means to live here and now, and what responsibility we all bear for this „here“ and „now“.

12:00 to 17:00

Humans are the central theme in the artistic work of Richild Holt (*1941, Einöde near Villach, Austria). A combination of realistic accuracy in figurative representation and an expressive style characterizes the sensitive, honest (self-)portraits of the artist.

The faces and bodies are modeled in strong light-dark and color contrasts. The figures are set against a reduced and highly abstracted background. Emotional intensity, tense dynamics, and great intimacy characterize the portraits.

The painting process is accompanied by a close exchange between the portrayed and the artist, during which a likeness is created that captures the personality of the subject and translates it onto the canvas. Richild Holt describes these joint portrait sessions as "the most intense conversation one could imagine."

Her nudes are subtle portraits in which she achieves authenticity instead of idealized representation. In the tradition and aspiration of portrait painting since the High Renaissance, Richild Holt's works express appearance and personality. Viewers encounter an intense physicality and vulnerability. In its immediate presence, the body simultaneously represents a carrier and visible expression of experiences, emotions, and social connotations, of identity. Just like in the blue hour of the evening twilight with its melancholic atmosphere, the outer and inner aspects of the portrayed shine equally bright.

12:00 to 17:00

In performative video works, some of them community productions with Tiago Mata Machado, the Brazilian artist Cinthia Marcelle isolates everyday, routine movements and work processes from their functional and production-oriented context. The mostly collaboratively participatory situations are transformed into poetic, metaphorical images that put established routines of social interaction and a performance-oriented logic of modern societies into question.

The exhibition Bodies in Motion – Form in the Making contextualizes the performative, mostly based on simple action instructions performance-based video works of Cinthia Marcelle for the first time with icons of the American post-minimalist dance and performance practice of the 1960s/70s such as Yvonne Rainer, Bruce Nauman, Suzanne Harris, and the performative-participatory approach of the minimalist sculptures of the German artist Charlotte Posenenske.

The exhibition is curated by Anna Roberta Goetz.

• experience first encounters with past lives
• suitable for (almost) everyone
• works even if you don't believe in reincarnation
• simple and without hypnosis
• professional and compassionate guidance
  

Six participants, lying on the ground and in the form of a star, embark on a joint mission and enter a past (shared) life. It may sound quite playful at first, but it is, in fact, a profound experience for all participants. According to the principle of "environment as a mirror," participants serve as mirrors for each other. Encounters without barriers occur on a soulful level, turning into an impressive self-experience.

No prior knowledge is required. You can have experiences even if you don't believe in reincarnation. Just be brave.

Geistesblitze
Live Podcast
News from Philosophy and Theology on the Topic: Cohesion
Conversation, Discussion

Podcasting live in front of and with the audience: This is the focus of the new series where people present their current research from philosophy and theology. After an interview conversation with the guest, the first three questioners can take the microphone and ask their questions live on the podcast. After the recording, we will enter into conversation.

7 €/5 € per evening

Artificial Intelligence and Cohesion
Mon, June 16, 2025, 7:00 PM

Are we underestimating the impact of Artificial Intelligence on our social cohesion?

· Dr. Anne Weber, 
Philosopher, Hanover

Woyzeck is the man that everyone tramples on...

Therefore, he is a victim, not a perpetrator. What would Woyzeck be today? A young man in precarious circumstances, without a chance for social advancement. He scrapes by with odd jobs, ruins his health out of financial desperation in questionable medical experiments, passes the time with Andres, and must come to terms with the fact that the only thing that gives his life stability - his relationship with Marie - falls apart, slips away from him. This inevitably leads to a catastrophe. But the world around him also falls apart, the Captain and the Doctor are well aware that they too can lose their social status at any moment, just cogs in the wheel of a society that has become inhumane.

The fragmentary nature of the play is deliberately maintained, situations flash by, spotlights like video clips, bright, fast, and even comically exaggerated.

“She looked outside. She was in the USA. She sighed. It was such a detached state. Being in the USA. Different from Paris or Berlin. Here. Nothing demanded her judgment. Here. She could look at everything without having to take a stance.”

“We can only state what is always the case: that we never have enough language,” says Marlene Streeruwitz in a conversation with the essayist Asal Dardan. The Austrian author has been writing against this circumstance since the early 1990s – radically, passionately, combatively. Initially, she made her public debut with plays, while her novel debut “Verführungen” in 1996 increasingly brought prose to the forefront of Streeruwitz’s artistic work, where two thematic blocks receive the most intense examination: the steep power differential between men and women, as well as the political conditions and continuity lines since National Socialism. Always in focus is the attempt to find a language that knows how to counter these societal demands.
On the occasion of her upcoming 75th birthday, we want to take a look back at a body of work that has distinguished itself for many decades through its unwavering stance for democracy and freedom, without sacrificing aesthetic and poetological standards. Central to this is Marlene Streeruwitz’s latest novel “Auflösungen,” which tells the story of the Viennese poet Nina, who is a guest lecturer in New York for a semester just before Trump’s re-election and witnesses how the political structures destroy cultural life.

Moderation: Jan Wilm

Marlene Streeruwitz, born in Baden near Vienna, studied Slavic studies and art history and began as a director and author of plays and radio plays. She has received numerous awards for her novels, including most recently the Bremen Literature Prize and the Award of the Literature Houses. Her novel "Die Schmerzmacherin" was on the shortlist for the German Book Prize in 2011. Recently, her novel "Flammenwand" (Longlist German Book Prize 2019), the Breitbach Poetics Lecture "Geschlecht. Zahl. Fall." (2021), the novel "Tage im Mai" (2023), and the volumes "Handbuch für die Liebe" and "Handbuch gegen den Krieg" (2024) were published.

Jan Wilm is an author, translator, and literary critic. In 2016, his book “The Slow Philosophy of J. M. Coetzee” was published, followed in 2019 by the novel “Winterjahrbuch.”

Photo (c) Mafalda Rakos

In performative video works, some of them community productions with Tiago Mata Machado, the Brazilian artist Cinthia Marcelle isolates everyday, routine movements and work processes from their functional and production-oriented context. The mostly collaboratively participatory situations are transformed into poetic, metaphorical images that put established routines of social interaction and a performance-oriented logic of modern societies into question.

The exhibition Bodies in Motion – Form in the Making contextualizes the performative, mostly based on simple action instructions performance-based video works of Cinthia Marcelle for the first time with icons of the American post-minimalist dance and performance practice of the 1960s/70s such as Yvonne Rainer, Bruce Nauman, Suzanne Harris, and the performative-participatory approach of the minimalist sculptures of the German artist Charlotte Posenenske.

The exhibition is curated by Anna Roberta Goetz.

Achtung: Es können sowohl an der Kasse direkt als auch im Onlineverfahren Eintrittstickets erworben werden.

In diesem Jahr stehen alle Wasserattraktionen, der Sprungturm, die Rutschen, der Spielplatz und die Sportplätze zur Verfügung.

Auch alle Sitzgelegenheiten können ohne Einschränkungen genutzt werden.

Kein Anspruch auf Ersatz oder Kostenrückerstattung auch bei höherer Gewalt.

Keinen Eintritt zahlen Schwerbehinderte mit Merkzeichen B und deren Begleitperson, soweit eine Begleitperson im Schwerbehindertenausweis eingetragen ist.. Es besteht eine Nachweispflicht vor Ort.

Kassenschluss 19:45 Uhr, Badeschluss 20:15 Uhr, Bad Schließung 20:30 Uhr

In the forest of many possibilities, two face the challenge of their lives: to find that one special, heartbreakingly cheerful singing bird: "Prrrt Prrrt Flap Flap"! Fully equipped, armed with binoculars and a folding stool, they set off on their journey. Yet despite all their efforts, despite chirping and tweeting, much fluttering and fussing, the joy of finding is slow to come. For nature obeys no commands, forcing the bird watchers to pass the time and let the events unfold with few words and in comically absurd attempts.

"Prrrt Prrrt Flap Flap" is a musical parable about waiting and the moment when happiness unexpectedly springs upon you in the end.

Photo: Hilde Harshagen

The RUDELSINGEN in Frankfurt at the Batschkapp continues! After the great Christmas - Rudelsingen 2023, Jörg Siewert and Steffen Walter will be back in Frankfurt singing a new program of the greatest RUDELSINGEN hits with you!

We will be singing standing up, and the Batschkapp will have some seating available.

Admission: 6:30 PM

The event takes place as a hybrid event.

Tuesday 17.06.25 / 19.30 h
Schöne Aussichten – Das Frankfurter Literaturgespräch
With Dana Grigorcea (guest critic), Sandra Kegel and Christoph Schröder
Hall ticket 9 / 6 Euro / Streaming ticket 5 Euro / Streaming subscription 50 Euro

Debating books
Here, the audience sits right in the middle. Live in a literary trio. The responsible feuilleton editor of F.A.Z., Sandra Kegel, and freelance literary critic Christoph Schröder discuss with guest critic Dana Grigorcea. The Swiss-Romanian writer has many professions; she is a Germanist, Dutch studies expert, journalist, and producer of TV and radio contributions. She is primarily known for her books. Her novel "Die nicht sterben" (Penguin) was nominated for the German Book Prize. Her recent novel "Das Gewicht eines Vogels beim Fliegen" also received much praise. This time, the trio will put the fine prose of Marie Luise Kaschnitz in "Beschreibung eines Dorfes" (Suhrkamp) to the traditional durability test.

The books in discussion:
Ralf Rothmann, Museum der Einsamkeit, Suhrkamp
Nell Zink, Sister Europe, Rowohlt
Georgi Gospodinov, Der Gärtner und der Tod, Aufbau
Marieluise Kaschnitz, Beschreibung eines Dorfes, Insel (Durability Test)

In collaboration with hr2-kultur, the cultural radio of Hessischer Rundfunk. The 64th Schönen Aussichten will be broadcast there on 22.06. at 12.04 h.

Photo: Dana Grigorcea © Lea Meienberg

Highlights of Film Music – with choirs, band, and soloists

Cinema sounds in the Theater Rüsselsheim. With “Movie STARS,” many well-known songs from film classics as well as the current cinema and TV world will be heard. The choirs CantaRona, PlanckTON, and CaRoKids will evoke many memories of cinema visits or other film events among the audience, together with the soloists and concert band. There is something for all age groups – earworm danger included.

Venue: Theater Rüsselsheim, Großes Haus | Duration: 110 min. including intermission

Admission: 18.40 euros
The following discounts are available:
Children aged 7 to 14 years - 10.70 €
Children up to and including 6 years free entry - A seat must still be booked!
50% discount for 80% severe disability (with "B" in ID, companion free)

Organizer: MGV Liederkranz Rüsselsheim-Haßloch

Photo: Heiner Engelter

Doors open: from 5:30 PM

The exhibition  „Margot und die anderen – Forced Sterilization in National Socialism“ focuses on the cruel practice of forced sterilizations of people who did not fit into the racist, inhumane system of the Nazi regime, and writes a local history of Wiesbaden that has so far received little attention – the story of the so-called Rhineland children, who were sterilized on oral order in „Secret Reich Affair“, simply because they looked different, because they had the „wrong“ fathers, because they were not „German“ enough. The exhibition places particular emphasis on writing the individual stories of the Wiesbaden children while also illuminating the issue of forced sterilization in Nazi unjust legislation. Last but not least, the exhibition project raises the question of what it means to live here and now, and what responsibility we all bear for this „here“ and „now“.

12:00 to 17:00

Humans are the central theme in the artistic work of Richild Holt (*1941, Einöde near Villach, Austria). A combination of realistic accuracy in figurative representation and an expressive style characterizes the sensitive, honest (self-)portraits of the artist.

The faces and bodies are modeled in strong light-dark and color contrasts. The figures are set against a reduced and highly abstracted background. Emotional intensity, tense dynamics, and great intimacy characterize the portraits.

The painting process is accompanied by a close exchange between the portrayed and the artist, during which a likeness is created that captures the personality of the subject and translates it onto the canvas. Richild Holt describes these joint portrait sessions as "the most intense conversation one could imagine."

Her nudes are subtle portraits in which she achieves authenticity instead of idealized representation. In the tradition and aspiration of portrait painting since the High Renaissance, Richild Holt's works express appearance and personality. Viewers encounter an intense physicality and vulnerability. In its immediate presence, the body simultaneously represents a carrier and visible expression of experiences, emotions, and social connotations, of identity. Just like in the blue hour of the evening twilight with its melancholic atmosphere, the outer and inner aspects of the portrayed shine equally bright.

12:00 to 17:00

In performative video works, some of them community productions with Tiago Mata Machado, the Brazilian artist Cinthia Marcelle isolates everyday, routine movements and work processes from their functional and production-oriented context. The mostly collaboratively participatory situations are transformed into poetic, metaphorical images that put established routines of social interaction and a performance-oriented logic of modern societies into question.

The exhibition Bodies in Motion – Form in the Making contextualizes the performative, mostly based on simple action instructions performance-based video works of Cinthia Marcelle for the first time with icons of the American post-minimalist dance and performance practice of the 1960s/70s such as Yvonne Rainer, Bruce Nauman, Suzanne Harris, and the performative-participatory approach of the minimalist sculptures of the German artist Charlotte Posenenske.

The exhibition is curated by Anna Roberta Goetz.

Since November, an intergenerational group of the fearless has been meeting weekly at Mousonturm to learn techniques from performance art. With the help of these techniques, they explore their own biographies. Many short performances have emerged on the rehearsal stage.

Now, once only on June 17, the gates to the club will be opened: various stations will be set up and occupied throughout the entire building of Mousonturm. Here, the Performance Club addresses actions that rarely take center stage in everyday life, even though they are important puzzle pieces of life realities. The Performance Club snatches these actions from everyday life, transforms them, and plants them in every corner and nook of Mousonturm for the audience to discover.

Photo: Daniil Charms

"I am only interested in nonsense, only in what has no practical meaning at all. I am interested in life only in its nonsensical appearance," says Daniil Charms. Daniil Charms, actually Ivanovich Yuvachov, born on December 30, 1905, was a Russian writer and poet. Throughout his life, he was afraid of being picked up by Stalin's secret police. He was imprisoned multiple times, and ultimately starved to death during the Leningrad blockade in a prison psychiatric hospital.
On this evening at the ROMANFABRIK, actor Wolfram Koch dedicates himself to the extraordinary Daniil Charms and reads mainly from his collection of texts "Incidents" (Volk und Welt) as well as poems, stories, very short stories, anecdotes, and dramolettes by him.

Doors open at 6:30 PM