Team

Under the leadership of Dr. Corinna Otto, the relevant guidelines for the Draiflessen Collection are developed—thematically, strategically, and visionarily. Together with the team, she develops the content orientation, provides impetus for our exhibitions, and constantly thinks ahead in terms of the collection and its communication. Corinna Otto gives the Draiflessen Collection its profile – clear, contemporary, always in line with the essential themes of our time. At her side: her deputy Nicole Roth and team assistant Sophia Baune.

 

What is developed in-house must be communicated to the outside world: the communications team, Shorena Baliashvili (graphic design), Tanja El Shamsy, and Julian Heitkamp, translates our exhibitions and programs into expressive images and precise messages. Online and offline. Graphics, press relations, social media, and marketing all come together here. It's not just about reach, but also about resonance and dialogue—in a language that makes complex content accessible to as many people as possible. Anyone who finds us should feel addressed and invited.

The team in the Collection and Archive catalogs, researches, and preserves our holdings – and constantly re-examines them. Kai Bosecker (family and company history), Dr. Julia Cwojdzinski (collection management), Jens Brokfeld (archive), Iris Ellers, and Guido Scholten (Liberna Collection) work together with Ruth Rasche (loan management) to ensure that our objects are not only preserved, but also given context and made accessible and tangible in thematic exhibitions: The archive thus also becomes a space for reflection. Johanna Schweppe (intern, archive and collection), Bianca Gabbe (documentation and archive), and archive assistants Annegret Buller, Nina Oltmanns, Dorothea Paetzke, and Andrea Strötzel play a significant role in this.

 

Birte Hinrichsen, Olesja Nein, Nicole Roth, Dr. Barbara Segelken, and Dr. Maria Spitz develop topics, questions, and ever-new perspectives on art through scientific research. They prepare complex contexts in such a way that they can be experienced physically and emotionally in the Main Space, which has over 900 m² of exhibition space. For them, curatorial work means not only conducting precise research, but also systematically selecting exhibits and staging them in a way that appeals to the senses. Of course, they never work alone: they are supported by curatorial assistants David Bäcker and Anja Leshoff. And from the very beginning, design, architecture, education, communication, and external partners are part of the process. Exhibitions are teamwork—from the very first idea to the final lighting adjustment on a work of art.
Birte Hinrichsen, Olesja Nein, Dr. Barbara Segelken

The education department develops formats that open the way to art rather than explaining it, programs that turn a visit to the museum into an active experience. Always with the awareness that art can only have an effect in dialogue. Tanja Revermann, Stefan Spitzer, and volunteer Jonas Schoster focus on exchange, participation, and changing perspectives. Guided tours, workshops, and participatory formats are aimed not only at different age groups of visitors, from children to retirees, but also at very different needs—basically, at anyone who wants to (re)discover and think about art. Annette Nagelmann-Knuf, who works with the curators to design excursions to accompany the exhibitions, completes the team.

 

Every visit to the museum begins at our reception desk—with a warm welcome and openness to any questions. Annette Nagelmann-Knuf (overall coordination), Sigrid Reichel, Verena Tattersall, Annette Vornbäumen, and Christine Wiemers are always the hosts for our visitors. They coordinate, organize, improvise at times—and they create atmosphere. The reception is our interface with the public. Here, a building becomes a place of encounter.