For the first time, the see-Conference took place under the guiding question: What does design have to do with democracy? On Saturday, April 25, the 20th edition of the conference once again transformed the grounds of the Schlachthof Wiesbaden into a dense field of ideas, images, and discussions. Designers, artists, architects, filmmakers, and theorists came together to explore how deeply visual culture shapes participation, public space, and social processes. The conference was initiated by Michael Volkmer and moderated by Claudia Brüninghaus. For the first time, Slanted was present with its own booth—books, conversations, and a continuous exchange between audience and contributors accompanied the day.
The conference opened with philosopher and author Eva von Redecker, known for her books „Revolution für das Leben“ and „Dieser Drang nach Härte” As a free author and critical thinker, she is known for clearly and precisely contextualizing the pressing issues of our time. She began her talk with the words: “We think in language – words that allow us to see many things at once.” At the center of her reflection were concepts such as ownership, freedom to remain, and the idea of a shared world.
With Deveroe, the energy shifted into something more intense and visually wild. His approach “heart over head” runs consistently through his work: mixed media, a strong DIY spirit, and a playful combination of analog and digital processes. His statement stays with you: Creativity means being able to deal with uncertainty. And in a world where so much starts to look the same, your own quirks become the greatest advantage. Daniel Chatard, documentary photographer, brought a quieter and more observational perspective. His work explores power structures, collective identity, and trauma through photography as a research-based medium. Trained in Hannover and at the Royal Academy of Arts in The Hague, he understands images as a tool for critically mapping social conditions.
Afterwards came the midday break on the festival grounds: food trucks, sunshine, conversations, and a moment to breathe between intense inputs.
Tobias Trübenbacher, industrial designer and architect, brought a perspective on sustainable design and material research. As initiator and author of his projects, he works at the intersection of product design, architecture, and ecological systems. He presented “Salt Water Clay,” “Papilio 2.0,” and “Shadow Transitions,” among many more projects, addressing different layers of material innovation, landscape transformation, and urban climate challenges. A more political tone followed with Tobias von Laubenthal from the Center for Political Beauty. His position was clear: design can and should be used against the far right. His actions are deliberately simple, often humorous, sometimes playful—but always with a serious political core, designed to provoke reflection while still allowing space for a smile. Digital artist David Szauder showed how AI can be meaningfully integrated into creative workflows. His work blends glitch aesthetics, machine intelligence, and human creativity. A key takeaway: embracing imperfection as a creative force. His project “Glitches & Glory” demonstrates how errors can become expression—and how technology reshapes authorship and perception.
Sophie Doula offered a short but inspiring insight into her practice, ranging from experimental color studies to her Risograph workshop—always exploring identity, emotion, and visual language.
In between, the familiar rhythm of the see unfolded: coffee queues, ice cream stands, and outdoor presentations from Hessen Design, World Design Capital initiatives, and projects from the RheinMain University of Applied Sciences.
With Jette Cathrin Hopp (Snøhetta), the focus shifted to architecture: rethinking public space, increasing accessibility, and making cities more livable. Projects such as the Norwegian National Opera or the redesign of Times Square demonstrate how design can directly shape democratic participation. A recurring idea: “Use the ground twice.” Lois Hechenblaiker brought a critical and sometimes satirical perspective on tourism and event culture. His work shows what remains—visually striking, often humorous in presentation, yet carrying a clear sense of underlying discomfort.
The day closed with Holy Motors from Tbilisi—loud, bold, entertaining, and politically charged. Between chaos, humor, and design, they demonstrate how creativity persists under unstable conditions and why making marginalized voices visible is essential. The evening naturally flowed into drinks and conversations, ending the day with a shared toast and continued exchange. On Sunday, the see-Camp shifted into a more hands-on format: workshops, dialogue, and practical approaches toward a democratic and future-oriented way of living together.
A dense, intense, and deeply inspiring edition of the see-Conference. A special thank-you goes out to all our visitors who actively supported us by purchasing Slanted publications throughout the day. We truly appreciate the exchange and the interest, and we’re already looking forward to seeing you again next year.