Dr. Regine Ehleiter is a Berlin-based curator and art historian with a research focus on exhibition history, artists’ publications, conceptualism and contemporary photography. She works as a Professional-Track Postdoctoral Researcher at Freie Universität Berlin as part of the DFG-funded research project Temporal Communities. Doing Literature in a Global Perspective. Prior to that, she has held teaching positions in the theory department of the Academy of Fine Arts Leipzig (Hochschule für Grafik und Buchkunst Leipzig) and in the art history department of the University of Hildesheim.

Regine studied Cultural Studies, Art History and Journalism in Leipzig and London. In 2006, she co-founded the non-profit space D21 Kunstraum. After completing her M.A. in 2011, she joined the curatorial team of Staatliche Kunsthalle Baden-Baden. Here, she initiated a platform for changing displays of books by small international publishers (Publishers’ Corner), organized several solo exhibitions and, together with Johan Holten, a major group exhibition on wall works (Auf Zeit, 2013). Following that, she worked for the 6th f/stop Festival for Contemporary Photography in Leipzig. In 2016, she was awarded a Curatorial Fellowship of the state of Rhineland Palatinate as part of which she curated the exhibition What’s Unfolding (2017) at Arp Museum Bahnhof Rolandseck. Her most recent curatorial project, Reading Artists’ Books, is a collaboration with Tabea Nixdorff, initiated in memory of the Chicago-based librarian, artist and author Doro Boehme.

In January 2022, Regine defended her PhD thesis on publications as sites of exhibition in the 1960s, supervised by Prof. Dr. Beatrice von Bismarck at the Academy of Fine Arts in Leipzig (summa cum laude). A book will soon be published with Edition Metzel, Munich. A doctoral grant by the German Academic Exchange Service (DAAD) allowed her to do extensive archival research at MoMA in New York and the Archives of American Art in DC. From March to May 2016, she was a guest researcher at the Getty Research Institute in Los Angeles, and, in 2018/2019, affiliated with the Courtauld Institute of Art in London as a Predoctoral Visiting Scholar.

Regine has taught on B.A. and M.A. level at the Academy of Fine Arts Leipzig (WS 2021/22, SS 2022), at Burg Giebichenstein in Halle (WS 2020), at the University of Hildesheim (WS 2019/2020, SS 2020), in the Curatorial Studies program at Goethe Universität/Städelschule Frankfurt (WS 2017/18), and in the Cultural Studies department at the University of Leipzig (WS 2014/15). She regularly contributes to art magazines and exhibition catalogues.


  • … took as its point of departure joseph beuys' '7000 oaks' and walter de marais's 'vertical earth kilometer' […]. addressing the idea of striking a 'balance' between the social and te formal in art, müller's work involved a trightrope act in which he paced off the distance between beuys' and de maria's works dressed as the infamous world trade center tightrope walker, philipp petit, carrying a six-metre-long balancing pole made half of oak and hald of brass in reference to beuys and de maria.
  • Wyoming Game and Fish | Lynne Hull | Eco-Art
  • Artist's book by Peter Fend issued as issue no. 3 of the periodical ISSUE. Consists of description of Ocean Earth Development Corporation, an architecture firm without architects created by artists. Text by Peter Fend. New York, NY: Issue Inc., 1999 c.
  • 1978-80. Betty BEAUMONT - Ocean Landmark Project: The Object Model of coal fly-ash blocks
  • Working with several barren, strip-mined sites in central Pennsylvania, she is in the process of transforming them into fruitful vineyards and gracious forests. Her reclamation projects address both aesthetic and ecological issues. She has developed a system of planting using serpentine rows running diagonally across the sloping hills. This design prevents soil erosion while at the same time creating an illusion of rolling terrain.
  • "Truckloads of earth and compost were contributed by local communities to cover a spoils’ pile, which was originally a quarry filled with the debris generated by the construction of the Niagara Power Plant."
  • "Rice/Tree/Burial was first realized in 1968 in Sullivan County, New York, in a private ritual. It was a symbolic "event" and announced my commitment to environmental issues […]. I planted rice to represent life (initiation and growth), chained trees to indicate interference with life and natural processes (evolutionary mutation, variation, decay, death), and buried my Haiku poetry to symbolize the idea or concept (the abstract, the absolute, human intellectual powers, and creation itself)"
  • "Located in Artpark, Lewiston, New York, a former chemical waste dump, Sonfist created a pool of virgin soil to catch blowing seeds from the air and begin the rebirth of the forest. In keeping with Sonfist’s interest in returning landscapes to their former natural state, he intended to revive the forest that might have existed on the site prior to humans’ destruction of it."