Eleni Wittbrodt
Artist in Residence
Eleni Wittbrodt (b. 1990, Germany) is a Glasgow-based visual artist. She received a ‘Diplom’ in Fine Art Practice from Kunsthochschule Mainz (Germany) in 2018 and a MLitt in Fine Art Practice from the Glasgow School of Art in 2019. Her education has been supported through bursaries from Cusanuswerk and Deutschlandstipendium, awarded by the German Federal Ministry of Education and Research.
Eleni has taken part in various international and regional residency programs. Notably, she is part of the 2024/2025 cohort of Atelierprogramm Ismaning, supported by a working grant from Alexander Tutsek Foundation. She participated in the XXV Artists Research Laboratory at Fondazione Ratti in Italy (2019), Paper Residency at d’mage Berlin, Royal Drawing School residency at Dumfries House in Scotland (2021), and a fellowship at the Cité internationale des arts in Paris (2022) awarded by the Rhineland-Palatinate Cultural Foundation.
Eleni’s work has been featured in several solo exhibitions, including at OxfordBerlin (Germany), Intermedia Gallery at CCA Glasgow (UK), 2-2-2 (Germany), and L187 (Germany). She is currently preparing a solo exhibition at 16 Collective (UK). Her group exhibitions have included shows at Cité internationale des arts in Paris, Kunsthalle Mainz, Spinnerei Leipzig, Neuer Kunstverein Mittelrhein, and the Ludwig Museum Koblenz.
Work in Progress
Eleni Wittbrodt with 16 Collective
Vignette 1: Skyline vs Ground Level.
These are two views from Glasgow Tower, located in Pacific Quay taken on 10th June 2024. The left-hand view, presents the Govan Graving Docks (GGD) the subject of our curatorial and artistic research and development project. Public access has been restricted for several years, leaving residents to appreciate the area only from afar. Currently, the community awaits the council’s decision on a proposed residential development along the River Clyde’s bank, which is feared to impact the future accessibility and use of this beloved site, which is also a flood plain.
The right-hand view faces east, showing the skyline along Pacific Quay. The architecture in this area, while architecturally significant and representative of modern developments, also highlights a critical issue: the restricted waterfront access for most residents. This obstruction of public access to the riverfront has been a key factor prompting our research inquiry.
Vignette 2: Historical Relationship
On the 13th of June 2024, we were granted access to the fenced-off area of Govan Graving Docks by Marine Project Scotland, who provided a tour of the Queen Mary, an old Clyde steamer from 1933 currently being restored on-site. It has been decades since the docks were last used for ship repair, and the appropriate permissions are still pending for the re-launching of Dock no 2 as a commercial ship repair site, we were told.
The director of Marine Project Scotland shared his personal connection to the docks. His father was a boat builder, and he himself is an experienced engineer who witnessed the decline of the Scottish shipbuilding industry, leading to work placements across many continents. His dream is to restore and reopen Dock No. 2 for industrial use indefinitely.
Vignette 3: Ecology
Undisturbed from human activity, a wide and diverse range of plants, insects, and animals have populated the Docks.
During our visit, we were able to spontaneously identify dozens of different flowers, grasses and shrubs, including wild orchids and strawberries. The area has proven to be particularly habitable for a variety of rare bird species, making it an important site for ornithological observation and research. Field ornithologist Paul Baker from Avian Ecology is currently conducting research on-site, with housing stations for rare birds set up on the east-facing edge of Docks 1 and 2.
We learned that the current flora and fauna results from a slow recovery and selective planting by Blue Green Glasgow, following a drastic vegetation cutback during a ‘deep cleaning’ project at the Docks in 2014.
Seeing the unique ecological richness of the site, benefitting from remaining mostly untouched, opens up questions about ecological responsibilities that must be considered in any future development plans.
Vignette 4: Community Mapping
It’s been pointed out to us that Govan Graving Docks, while still accessible, were primarily used by local teenagers, a group widely demonised and sometimes cut off from many activities and services available to their younger peers. We aim to engage these young people by inviting them to join the Govan Camera Club, where they can explore photographic self-expression and document their neighbourhood’s topographies during this time of pivotal changes, such as the opening of the Partick-Govan Bridge and the disputes around the GGD. We hope to provide a space for the participants to reflect on the architectures and intimacies of riverside living in Govan. Our goal is to bring together young people from different communities, including the New Scots, who form a significant part of Govan’s population.
Our team of four is dedicated to developing a climate-conscious, community-led curatorial practice that will contribute to the creation of a public-site commissioning toolkit. Along our research journey, we have encountered many inspirational artists, architectural projects, and community initiatives in Govan and at the Docks. We hope to catalogue these and share them as a directory in the following phases of the project, ending in 2028.
Final Work
Eleni Wittbrodt with 16 Collective
This publication is a visual, textual, sonic, spatial and speculative reader of the Govan Graving Docks and their neighbourhood.
The dossier collaborative research undertaken by Aga Paulina Młyńczak, Nell Cardozo and Kelly Rappleye (16 Collective) and resident artist Eleni Wittbrodt, with communities in Govan between 2024 and 2025. 16 Collective’s Riverside Topographies is a long-term research project connecting artists with communities alongside urban waterways to imagine more just and democratic futures for these sites.
The first phase of this project takes the Govan Graving Docks as its point of criticality at a pivotal moment in the site’s history.
Key contributions include Wittbrodt’s photographic collection Surface Reading, which experiments with visual access and oblique methods of surveying the now-fenced docks. Field recordings on-site (accessible by QR Codes) accompany “Visiting the lost world of the nearby”, a poem by Cardozo. In “The Govan Brassica”, Hmashya Rajkumar writes through soil beds, seed life and non-human inhabitation, following a seed collection workshop on the docks with Glasgow Seed Library. Govan Camera Club, a youth photo initiative based at Elder Park Library, contributes a collective visual mapping of topographies under transformation, offering a local counter-narrative to enclosure and speculative development.
Two contrapuntal interviews explore labour, industry and transition. Peter Breslin speaks with 16C about Dry Dock 3 and a life across industrial cycles. Rappleye interviews Khem Rogaly of Common Wealth on militarisation, economic justice and Clydeside’s cultural memory.
Młyńczak’s curatorial esssay “ENTER THE RIVERside” introduces the project’s slow, situated approach. Designs for a “Meeting Point” propose new infrastructures for coexistence, human and non-human, beside the docks.
Resident Artist: Eleni Wittbrodt
Lead Curator: Aga Paulina Młyńczak
Curators: Kelly Rappleye, Nell Cardozo
Publication Editor: Nell Cardozo
Graphic Designer: Anne Büttner
Contributors: Hamshya Rajkumar, Peter Breslin, Khem Rogaly, Govan Camera Club
Produced and Published by 16 Collective CIC
