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\r\n Anja Pentrop (2011) <\/div>\r\n
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Anja Pentrop<\/h1>\n

2011<\/h2>\n

Through the other Goldrausch artists and the project managers I gained a new vocabulary for my works and an awareness of new interpretations. I\u2019ve become braver, use a broader range of artistic materials, and my technical know-how has been greatly enhanced. Art is still my primary means of support. It was very good to learn how multifaceted and diverse the career paths of visual artists can be. Because art doesn\u2019t have to be unprofitable. I wouldn\u2019t want to do without the network that developed through Goldrausch.<\/p>\n <\/div>\r\n <\/div>\r\n<\/div>\r\n

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\r\n Christine Woditschka (2006) <\/div>\r\n
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Christine Woditschka<\/h1>\n

2006<\/h2>\n

For me, the Goldrausch year was an absolute benefit: I\u2019ve continued to collaborate with one of the women in my course since we got to know each other at Goldrausch. And it\u2019s often nice to meet other ex-Goldrausch women \u2013 the experiences from that intensive year create extraordinary bonds. Obviously the course is time-consuming, but I always felt it was like having \u201cfixed\u201d office hours in which recurring things like compiling a portfolio, designing a website and so forth could be worked on, and moreover within a shared professional and collegial framework.<\/p>\n <\/div>\r\n <\/div>\r\n<\/div>\r\n

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\r\n Farida Heuck (2004) <\/div>\r\n
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Farida Heuck<\/h1>\n

2004<\/h2>\n

Goldrausch was very important for my self-conception as an artist. My artistic career was going through a transition phase when I participated in the Goldrausch programme. The cohesive group in which I\u2019d done all my previous work was in the process of dissolving. The prospect of realizing projects alone was a particular challenge for me. Through my participation, I gained the self-confidence to initiate projects independently, to carry them out, and to assert my own position as an artist.<\/p>\n <\/div>\r\n <\/div>\r\n<\/div>\r\n

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\r\n Friederike Feldmann (1996\/97) <\/div>\r\n
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Friederike Feldmann<\/h1>\n

1996\/97<\/h2>\n

When does one get the opportunity to get to know 15 women artists (counting myself in), their attitudes and viewpoints, and then also be able to experience \u2013 through mutual discussions during the course of the year \u2013 how these positions change and become more precisely defined? That was the most important experience for me.<\/p>\n <\/div>\r\n <\/div>\r\n<\/div>\r\n

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\r\n Kerstin Honeit (2011) <\/div>\r\n
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Kerstin Honeit <\/h1>\n

2011<\/h2>\n

Looking back, participating in the Goldrausch project for women artists 2011 was like getting a \u2018goody bag\u2019 filled with the perfect ingredients. The many practical and theoretical \u2018goods\u2019 that I took with me during the Goldrausch year have meanwhile become trusted \u2018tools\u2019 in my daily work as an artist. But to me the best thing about the Goldrausch goody bag is being part of this unique network of so many brilliant artists.<\/p>\n <\/div>\r\n <\/div>\r\n<\/div>\r\n","max_pages":1}