participations & exhibitions
member at artifact e.V., Potsdam
artist grant at Künstlerhaus Lukas, 2025
artist grant for the project ENKEL:INNEN Schloss Wiepersdorf, 2025
artist residency and grant "Spiegelhand" Kyiv, 2024
civic ignation grant, Burners Without Borders, 2024
artist residency and grant "Ich komme und sehe" Kyiv, 2023
The exhibition Memory.Interchange in the Museum of War in Kyiv is founded on the family stories of three artists who are communicating through their collaborative art: Polina Kuznetsova from Ukraine, Eva Neidlinger, and Jenny Alten from Germany. Their family histories, which intersected in the past, provide a foundation for reflecting on the memories that World War II has left behind in Europe.
This project is commemorating the 80th anniversary of the end of World War II - day of Europe. It serves as a research platform that explores the experiences of ancestors whose lives were shaped by the forces of logic and absurdity, fear and hope, as well as the disruptions of daily life during wartime and occupation of Ukrainian land.
Eva Neidlinger is exhibiting the war diary of her great-grandfather as well as the photographs he took in Ukraine between 1941-1943. An artistic reflection comes along with the three channel-video installation RECONNAISSANCE, 2025. As well a painting of Polina Kuznetsovas grandmothers first childhood memory imprinted by the trauma German occupants caused that time.
Funded by the German Embassy Kyiv.
!EXHIBITION!
Kyiv War Museum
09. May - 30. August 2025
The exhibition project “ENKEL:INNEN” at the Kunstverein KunstHaus Potsdam brings together granddaughters of Nazi perpetrators and Jewish granddaughters with family ties to the Shoah. In the context of their group grant at Schloss Wiepersdorf the artists are investigating their individual and collective approaches to their transgenerational trauma in art.
!EXHIBITION!
KunstHaus Potsdam
7. September - 19. Oktober 2025
Beton or бетон in both Ukrainian and German language, becomes the unifying material in this collaborative investigation. For both artists, it serves as a powerful symbol of construction and destruction, permanence and fragility, connection and division. Maksym, based in Kyiv, began working with concrete in the winter of 2022, sinking ready-made objects into its liquid form to create new and distorted connections. Eva, who has had deep ties to Ukraine since 2008, was drawn to the material since noticing its omnipresence in connection with war. Through her video work, she documented the fluidity of concrete as it was molded, altered, and destroyed—a picture for the fleeting nature of stability.
Their collaboration emerged as a process of meeting through the sensuality of the material—finding a common language that transcends the limitations of spoken word. Their associations are highly personal and deeply contextual. As artists from two countries living through the experience of war very differently, they engage with the material in ways that reflect their own experiences of fragmentation and resilience. Their art speaks to this shared exploration, where differences of language, culture, and identity fade into the background as their collaboration becomes an independent perspective, joining the two.
And as the fragility of security in Ukraine is more real than ever we want to dedicate this exhibition to our friends at the frontlines, making sure that we can keep the places to create. Shooting down the endless amount of drones and rockets over our heads, every day and every night. Keeping the enemy out of as much Ukrainian territory as possible with their own bodies and lives. Many of whom could be creating incredible art themselves now, create a future together with us. Please support our friends in their defense and medical units, and the volunteer organizations who keep on doing their valuable work
As a result of the artist residency "Ich komme und sehe" the exhibition "EXTERNAL FACTORS" exhibited the photo series "On the Sharp Edge of a Broken Stone" by Eva Neidlinger. The artist contemplated on the material of concrete and the ressonance of trauma from nearly 80 years ago when Nazis occupied Ukraine.
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