EQUINOX
-
Upload
grimmuseum -
Category
Documents
-
view
213 -
download
1
description
Transcript of EQUINOX
20. March
27. March
2010[ Version
Stokou
]
2 cu
rato
rs
2 sh
ows
the
sam
e ar
tist
s
Wednesday-Sunday 14-19 h. Fichte Strasse 2, 10967 Berlinwww.grimmuseum.com [email protected]
all.indd 1 22.03.2010 16:28:46 Uhr
Equinoxi s a c u r a t o r i a l e x p e r i m e n t . 2 c u r a t o r s , 2 s h o w s , t h e s a m e a r t i s t s
in an open call artists from Berlin were invited to submit work proposals on an A4 page. They were asked to consider this A4 page as their participation in the exhibition catalogue and design it accordingly. They were also asked to include visuals and information about the work such as title, dimensions, installation guidelines but refrain from giving any further details on their vita, galleries or other works. The 172 submitted A4 pages, unedited, make up the pages of this catalogue.
The two Grim Projects curators, Stokou and Leifsdottir, reviewed the works separately and each chose the ones she believed would make up the perfect group show. They each planed their show ignorant of the other’s choices. The two shows were inaugurated separately and each lasted one week.
What makes up a good exhibition? How many exhibitions can be curated out of the same group of artists? Is there an endless number of ways to put up the same group of art works or is there only one? Can two persons of different backgrounds and preferences come to the same or similar result using the same material?
A common misunderstanding as to the word Equinox (Latin aequus-equal and nox-night) is that it is often interpreted to mean: “equal day and night,” but this is not strictly true. Equinoxes are not days (or nights), but rather the points in time, twice a year, when the tilt of the Earth’s axis is inclined neither away from nor towards the Sun; the Sun being vertically above a particular point on the Equator. What is true however about the equinoxes is that two observers at the same distance north and south of the equator will experiencenights
of equal length…
Despina Stokou is brunette. Mediterranean: Average height, brown eyes. She came to Berlin in 2002 from Athens. Her first name means Mistress, her last name means Plastering. She is a painter and a writer. She hates performances where anybody gets dirty, bloody or naked crawling on the floor. She has secret misgivings about photography as art. Her pain threshold in video art is 90 seconds; it gets considerably longer with a loud soundtrack and fast sequences. Close to zero when the video is black and white or sepia. She loves the smell, the texture, the feeling, everything about color. The only direction in painting she will not consider liking is pop art (Lichtenstein, Warhol), ah… and graffiti. She always feels jealous in front of a good collage. She is obsessed with psychological and gender issues and the idea that art can, should and will change the world. She will start and probably finish reading most of the texts in an exhibition - except the one describing the works, where her mind simply shuts down. Her worst nightmare in a show: Last documenta, the last Berlin Biennale, or any BB for that matter. Her paradise on earth shows: Sequence 1 at the Palazzo Graci (Francois Pinault Foundation), Utopia Station at the 50th Venice Biennale, the 100th and almost any show in Autocenter, Berlin.
Silja Leifsdottir is blonde. Scandinavian: Average height, blue eyes. She came to Berlin in 2007 from Glasgow, from Norway, from Island, where she was born, grew up, studied. Her name is pronounced Leif’s-daughter. Her first name means Blind. She is an artist. She wrote her thesis on Masochistic performance art, but she did not enjoy it. Once in a blue moon she will see a painting she likes, but she won’t know why, since she has little to no interest in painting. She gets the urge to run if she hears the word collage, she will however read all the text in an exhibition related to the pieces she hates, attempting to understand what she’s obviously missing out on. She will always remember the title on the pieces she loves, but rarely remember the artist’s names. The only medium she is likely to discuss is photography and she can spend hours watching video as long as there’s something to sit on. Installation and sculpture is also a favorite, especially if it has anything to do with science or the universe. Her worst nightmare in a show: Any large group shows where the artist work is completely out of context. Her paradise on earth show: Haven’t seen it yet, but Simon Starling’s show at Contemporary Kunsthalle, Børre Sœthre’s ‘For Someone Who Nearly Died But Survived’ and Ceal Floyers show at KW was really good.
Wednesday-Sunday 14-19 h. Fichte Strasse 2, 10967 Berlinwww.grimmuseum.com [email protected]
all.indd 2 22.03.2010 16:28:47 Uhr
Equinoxi s a c u r a t o r i a l e x p e r i m e n t . 2 c u r a t o r s , 2 s h o w s , t h e s a m e a r t i s t s
in an open call artists from Berlin were invited to submit work proposals on an A4 page. They were asked to consider this A4 page as their participation in the exhibition catalogue and design it accordingly. They were also asked to include visuals and information about the work such as title, dimensions, installation guidelines but refrain from giving any further details on their vita, galleries or other works. The 172 submitted A4 pages, unedited, make up the pages of this catalogue.
The two Grim Projects curators, Stokou and Leifsdottir, reviewed the works separately and each chose the ones she believed would make up the perfect group show. They each planed their show ignorant of the other’s choices. The two shows were inaugurated separately and each lasted one week.
What makes up a good exhibition? How many exhibitions can be curated out of the same group of artists? Is there an endless number of ways to put up the same group of art works or is there only one? Can two persons of different backgrounds and preferences come to the same or similar result using the same material?
A common misunderstanding as to the word Equinox (Latin aequus-equal and nox-night) is that it is often interpreted to mean: “equal day and night,” but this is not strictly true. Equinoxes are not days (or nights), but rather the points in time, twice a year, when the tilt of the Earth’s axis is inclined neither away from nor towards the Sun; the Sun being vertically above a particular point on the Equator. What is true however about the equinoxes is that two observers at the same distance north and south of the equator will experiencenights
of equal length…
Despina Stokou is brunette. Mediterranean: Average height, brown eyes. She came to Berlin in 2002 from Athens. Her first name means Mistress, her last name means Plastering. She is a painter and a writer. She hates performances where anybody gets dirty, bloody or naked crawling on the floor. She has secret misgivings about photography as art. Her pain threshold in video art is 90 seconds; it gets considerably longer with a loud soundtrack and fast sequences. Close to zero when the video is black and white or sepia. She loves the smell, the texture, the feeling, everything about color. The only direction in painting she will not consider liking is pop art (Lichtenstein, Warhol), ah… and graffiti. She always feels jealous in front of a good collage. She is obsessed with psychological and gender issues and the idea that art can, should and will change the world. She will start and probably finish reading most of the texts in an exhibition - except the one describing the works, where her mind simply shuts down. Her worst nightmare in a show: Last documenta, the last Berlin Biennale, or any BB for that matter. Her paradise on earth shows: Sequence 1 at the Palazzo Graci (Francois Pinault Foundation), Utopia Station at the 50th Venice Biennale, the 100th and almost any show in Autocenter, Berlin.
Silja Leifsdottir is blonde. Scandinavian: Average height, blue eyes. She came to Berlin in 2007 from Glasgow, from Norway, from Island, where she was born, grew up, studied. Her name is pronounced Leif’s-daughter. Her first name means Blind. She is an artist. She wrote her thesis on Masochistic performance art, but she did not enjoy it. Once in a blue moon she will see a painting she likes, but she won’t know why, since she has little to no interest in painting. She gets the urge to run if she hears the word collage, she will however read all the text in an exhibition related to the pieces she hates, attempting to understand what she’s obviously missing out on. She will always remember the title on the pieces she loves, but rarely remember the artist’s names. The only medium she is likely to discuss is photography and she can spend hours watching video as long as there’s something to sit on. Installation and sculpture is also a favorite, especially if it has anything to do with science or the universe. Her worst nightmare in a show: Any large group shows where the artist work is completely out of context. Her paradise on earth show: Haven’t seen it yet, but Simon Starling’s show at Contemporary Kunsthalle, Børre Sœthre’s ‘For Someone Who Nearly Died But Survived’ and Ceal Floyers show at KW was really good.
Wednesday-Sunday 14-19 h. Fichte Strasse 2, 10967 Berlinwww.grimmuseum.com [email protected]
all.indd 3 22.03.2010 16:28:47 Uhr
SPEEDERBIKE PRIMITIVE2010
mixed media sculpture. wooden rotary clothesline, plastic saddle, rope, knifes, glass, sharp pins and spray paint (200x40x60 cm).
what if you could vanquish phisical pricnciples and just jump on one of those hovering speederbikes the imperial stormtroops use on endor? speederbike primitive indicates this possibility - built with the most simple (found) materials - and a raw warpaint, accompanied by obvious burn-out traces on the ground behind the „aircraft“. or have you seen one small-in-stature waspish warrior enjoying a glass of champaign at the buffet?
[instruction: object should stay on the ground, jacked up by the two branches. behind it, starting right off the „exhaust pipe“, there has to be a 1m trace of black coal scattered on the floor to create the look of bur-ned ground from throwing flames of starting engines. you‘ll find a bag of coal powder with the material.]
all.indd 6 22.03.2010 16:28:49 Uhr
Son of the central heating March 08,2010
Yesterday I went out to take a walk, to clear up my thoughts and to think about some clever project proposal. It’s still cold outside - this winter will never end. The cold should help me to brighten up my mind, but I can only think about the time when it will be warmer. Because of this I’m running home to set a fire. First, putting some pieces of wood in the oven and later some coal. One year ago I was still using the coal only to draw (but not too often). But I was using it a lot when I was starting my art studies in Belgrade in 1995. For the whole first year this was an obligatory task.Moving to Berlin is a new start for me, and because of this and because of celebrating upcoming spring I would like to make a drawing on the wall with the coal for the oven. This is my project suggestion, drawing (don’t know yet what it will be), and a few pieces of coal left around. I think this is a good example how we can observe things from differ-ent points of standings.
all.indd 7 22.03.2010 16:28:49 Uhr
Untitled
, 2009,
pen
cil an
d w
ater
colo
ur
on p
aper
, 34x6
1 c
m
all.indd 9 22.03.2010 16:28:50 Uhr
no title
42 shallow containers hold water made out of acrylic glass. various sizes (5cm-25cm)- recommended to be installed in an angle to a light source, or a window.
all.indd 10 22.03.2010 16:28:53 Uhr
16°7
’E 6
9°22
’N 2
9.07
.200
8 1
0.00
-18.
00 U
TC
+2
penc
il on
pap
er, 1
00 x
70
cm, f
ram
ed (
woo
d)
all.indd 12 22.03.2010 16:28:57 Uhr
16°7
’E 6
9°22
’N 2
9.07
.200
8 1
0.00
-18.
00 U
TC
+2
penc
il on
pap
er, 1
00 x
70
cm, f
ram
ed (
woo
d)
all.indd 13 22.03.2010 16:28:58 Uhr
Starting from the definition of Equinox: “two observers at the same distancenorth and south of the equator will experience night of equal lenght”, I thought about a sound installation where different distances can produce different le-vels of auditory enjoyment or, on the contrary, a sense of annoyance more or less intense.
The two speakers, positioned at the same distance from the listener point, give out, at the same volume, the Bach’ Prelude - Cello Suite No. 1. One of the two stereo channels is tuned half tone(*) higher then the other. Normally the shift of tuning is not so easy to notice but when the two channels works contemporarily, the contrast is evident.
If the listener remains exactly at the same distance from both the acoustic devices has the impression to attend to a disagreeable clash, in spite of the composition masterpiece, similar to a buzz. In fact, contrary to what happens in every stereo system, where the two channels’ music mix and complete each other, in ESP project, the point where we observe the maximum peak of the interferences (the maximum contrast of the two different tunings) is just the center of the room.Little by little the listener moves toward the extremities of the room, and more he can hear and enjoy the perfection of Bach prelude.Only a sophisticated hearing can realize which one among the two speakers is issueing the original composition tuning and wich one has been altered.
In front of the viewer is hung a sign with the writing You Are The Channel.
(*) half tone or semitone is the smallest musical interval commonly used in Western tonal music, and it is considered the most dissonant.
Layout of the sound installation
eQUINOX sTEREO pROJECT
right channel left channel
Installation details
The work consists of a home stereo system with two speakers.
The speakers must be distanced 3 or 4 meters each other,
positioned like the illustration shown above.
The music must go on in loop.
The center of the floor space, where the sound of the two
speakers is perfectly balanced, will be signed with a circle.
A writing on the wall (30 x 40 cm) .You Are The Channel
YOU ARE
THE CHANNEL
all.indd 20 22.03.2010 16:29:05 Uhr
Amulette, 2009, oil on canvas w/ silver medaillon, 5 x 10 cm
The object is hanged on the wall with a long silver chain
Starting from the definition of Equinox: “two observers at the same distancenorth and south of the equator will experience night of equal lenght”, I thought about a sound installation where different distances can produce different le-vels of auditory enjoyment or, on the contrary, a sense of annoyance more or less intense.
The two speakers, positioned at the same distance from the listener point, give out, at the same volume, the Bach’ Prelude - Cello Suite No. 1. One of the two stereo channels is tuned half tone(*) higher then the other. Normally the shift of tuning is not so easy to notice but when the two channels works contemporarily, the contrast is evident.
If the listener remains exactly at the same distance from both the acoustic devices has the impression to attend to a disagreeable clash, in spite of the composition masterpiece, similar to a buzz. In fact, contrary to what happens in every stereo system, where the two channels’ music mix and complete each other, in ESP project, the point where we observe the maximum peak of the interferences (the maximum contrast of the two different tunings) is just the center of the room.Little by little the listener moves toward the extremities of the room, and more he can hear and enjoy the perfection of Bach prelude.Only a sophisticated hearing can realize which one among the two speakers is issueing the original composition tuning and wich one has been altered.
In front of the viewer is hung a sign with the writing You Are The Channel.
(*) half tone or semitone is the smallest musical interval commonly used in Western tonal music, and it is considered the most dissonant.
Layout of the sound installation
eQUINOX sTEREO pROJECT
right channel left channel
Installation details
The work consists of a home stereo system with two speakers.
The speakers must be distanced 3 or 4 meters each other,
positioned like the illustration shown above.
The music must go on in loop.
The center of the floor space, where the sound of the two
speakers is perfectly balanced, will be signed with a circle.
A writing on the wall (30 x 40 cm) .You Are The Channel
YOU ARE
THE CHANNEL
all.indd 21 22.03.2010 16:29:07 Uhr
Adoptez un pigeon2009.
250 dessins de pigeons sur papier A4 recyclé dans un carton250 drawings of pigeons on paper A4 recycled in a box
Un jour un homme est venu pour exterminer des pigeons qui vivaient à côté de moi et en suite disposer des points sur les rebords des fenêtres pour qu’ils ne se reposent plus. Par cette visite m’a amené à réfléchir à propos de ces oiseux qui vivait si près de nous, mais ils restaient presque invisibles… la présence permanant nous amène à nulle part sans le remarque, devient disparaître sous nos regards. Alors Dans un carton, il y a des dessins de pigeons pour que les gens le prennent, « adoptez un pigeon », adoptez notre regard d’invisible pour révéler notre inconscience de la vie quotidien.
One day a man came to exterminate pigeons who lived next to me and in continuation(suite) to arrange points on the edges of windows so that they do not rest(base) any more. By this visit brought me to think about these fu-tile who lived if near us, but they remained almost invisible the permanant presence brings us in nowhere without notices it, becomes to disappear under our glances. Then In a box, there are drawings of pigeons so that people take it, « adopt a pigeon », adopt our glance of invisible to reveal our unconsciousness of the life everyday.
all.indd 23 22.03.2010 16:29:08 Uhr
MISTAKEN VIEW
(print, 60x80, 2010)
C_61.1, 2009Lacquer on plexiglass / aluminium33 x 30 x 8 cm
all.indd 24 22.03.2010 16:29:11 Uhr
équivoque, 2010horizontal euro coins stack_ coppered steel, golden alloy, nickel, brass.variable dimensions, adjustable positioning between two walls.
all.indd 26 22.03.2010 16:29:14 Uhr
équivoque, 2010horizontal euro coins stack_ coppered steel, golden alloy, nickel, brass.variable dimensions, adjustable positioning between two walls.
all.indd 27 22.03.2010 16:29:15 Uhr
Belle de jourSwarovski’s grip, natural hair - 90cm x 40cm.Display on a 130cm height pedestal, 2010.
all.indd 28 22.03.2010 16:29:17 Uhr
Belle de jourSwarovski’s grip, natural hair - 90cm x 40cm.Display on a 130cm height pedestal, 2010.
all.indd 29 22.03.2010 16:29:19 Uhr
Clone RangerPrint113x16 cm
Drag King Cowboy Multiples. Clone Ranger can also be extended in wallpaper style over the entire length of a wall.
Lemniscate of Bernoulli (title)
chiselled wallvariable dimensions (precise measures depend
on context. a suitable range is from 50cm to 150cm wide)
footnote
the picture above is a fast and inaccurate draft of a site-specific intervention.the execution should take into account some 3-8 hours set up ( according to wall characteristics).
it's not about maths, or theology or even berlin wall, nor metaphysical or psycophysical xxx.just an attempt to be part of a group. thanks and have fun, anyway. good curatorial project.i enjoyed it. bye. g.∞
all.indd 32 22.03.2010 16:29:22 Uhr
Lemniscate of Bernoulli (title)
chiselled wallvariable dimensions (precise measures depend
on context. a suitable range is from 50cm to 150cm wide)
footnote
the picture above is a fast and inaccurate draft of a site-specific intervention.the execution should take into account some 3-8 hours set up ( according to wall characteristics).
it's not about maths, or theology or even berlin wall, nor metaphysical or psycophysical xxx.just an attempt to be part of a group. thanks and have fun, anyway. good curatorial project.i enjoyed it. bye. g.∞
all.indd 33 22.03.2010 16:29:22 Uhr
Bust of Hugo Erfurt Size: 46 x 34 x 20 cmMaterial: ingrain wallpaper on plaster
Bust to pay homage to the innovator of the famous German „Raufasertapete“ (ingrain wallpaper)(* 13th of February 1834, † 1922)
all.indd 37 22.03.2010 16:29:25 Uhr
Variable 6
InstallationMirror, steel, wall paintHeight 185 cm 2008
Cut mirror stripes and steel bars leaned against the wall (invisible fixing) with referring grey paint on wall and ground
all.indd 38 22.03.2010 16:29:26 Uhr
In Berlin, Germany I plan to transform my domestic cat in Perth, Australia into a rabbit, and I think it will end up somewhere in between, in the mountains between Laos and Vietnam. It’s something I hope to do in the next week and in time for Easter.
The result will be a new work: CatRabbit, a drawing of pencil and watercolour on paper, approx. 40cm x 30cm, hung simply on wall, not sure as yet whether
framed or unframed.
all.indd 41 22.03.2010 16:29:28 Uhr
Non Nobis-Sweep Stake, 2009Tusche/Pastell/Aquarell/Papier30X40cm/7,5X12cmInk/Pastel/Aquarel/Paper11.81X15.75in/2.95X4.72 in
all.indd 45 22.03.2010 16:29:33 Uhr
“Creepy dolls“ 2008 from the series “Nachthelle IV“ (Germany/Portugal, 2008-‐2009) C-‐Print 42x42 cm framed in passe-‐partout in a white glazed wooden frame 50x50 cm
all.indd 46 22.03.2010 16:29:33 Uhr
Berg, 2009, 94 x 179 cm, Digital C-Print, Diasec
to be wall-mounted with two nails or hooks
all.indd 47 22.03.2010 16:29:34 Uhr
Urbanstrasse 69
Photography printed on canvas 170 x 150 cm
Urbanstrasse 69 is a zoom-in on a patch of sidewalk of the homonym
street in Berlin Kreuzberg. It is about a spot on a street covered
by trodden and molten snow. Black and white, footprints and
trails. Maybe a yellow wooden stick on the left side. Aiming at
capturing the beauty within the inanimate, objective, non-
interpreted moment.
The picture looses its informative potential: the lacking pixels
want to become a input for the viewer and introduce him to a
diverse way of contemplation: inexistent details, pictorial
elements. The image becomes abstract because it reaches a more
essential visual synthesis. It gets row material which lends
itself to the discovery.
all.indd 49 22.03.2010 16:29:37 Uhr
Ohne Titel (Bockobjekt 1) / Untitled (Bockobject 1)
2009
Holz, Tusche, Scharnier, Messingblech, Bambus, Acrylfarbe, Spraylack, Schnur, Metallperlewood, ink, hinge, sheet brass, bamboo, paint, spraypaint, string, metal beadMaße / dimensions 100 cm x 130 cm x 80cm
all.indd 50 22.03.2010 16:29:38 Uhr
The processual project Bivouac has two phases. The most important in the realisation of the sculpture was its placement onto the face of Lomnica Peak in Slovakia and later on the face of Jossingfjord in Norway. It represents a mountain climber in an emergency situation, trying to protect himself from severe weather conditions. The extreme situation of is over-dimensioned and extended in terms of time. The process of transformation and finalisation of the sculpture depends on the weather conditions. Wood naturally imbibes humidity and undergoes changes caused by the mountains. The transformation and behaviour of the sculpture in a natural habitat is transmitted online through an IP camera and the Internet into public and media spaces. The goal is to provoke any regular user of the Internet to reassess his/her activity in the virtual sphere.
Bivouac, 2008/09/10, site-specific installation, IP camera, wood, sculpture dimensions: 140x70x60 cm,online Internet transmission: http://www.pagereboot.com/?url=http://dalane-tidende.no/webcam/jossing.jpg&refresh=10
Jossingfjord (NO)Lomnica Peak (SK)
all.indd 51 22.03.2010 16:29:40 Uhr
picture name (or the title of the work): catwalk
size: variable, depends on the chosen media. size possibilities: 1. performance: live size, about 168 hight and 1M² to 100 M² 2. sculpture: live size, about 170 cm and 1M² 3. photography: flexible on size. preference: A0 4. video: variable size, depends on the size of TV set or monitor or projection. 1cm³ to 100 m³
material: variable. depends on the chosen media. material possibilities: 1. performance: artist and the costume, audience 2. sculpture: a plastic mannequin and the costume 3. photography: print on photo paper 4. video: TV set or monitor or projector, with DVD player or computer with DVD drive.
installation details: put in the space
other information: if the work is chosen more than once, then the chosen media will be preferred not be the same for each time
all.indd 52 22.03.2010 16:29:42 Uhr
picture name (or the title of the work): catwalk
size: variable, depends on the chosen media. size possibilities: 1. performance: live size, about 168 hight and 1M² to 100 M² 2. sculpture: live size, about 170 cm and 1M² 3. photography: flexible on size. preference: A0 4. video: variable size, depends on the size of TV set or monitor or projection. 1cm³ to 100 m³
material: variable. depends on the chosen media. material possibilities: 1. performance: artist and the costume, audience 2. sculpture: a plastic mannequin and the costume 3. photography: print on photo paper 4. video: TV set or monitor or projector, with DVD player or computer with DVD drive.
installation details: put in the space
other information: if the work is chosen more than once, then the chosen media will be preferred not be the same for each time
all.indd 53 22.03.2010 16:29:43 Uhr
Sans titre (tente lumineuse) 2009200 x 200 x 135 cmFibre optique, structure métallique, vidéo projecteur, lecteur dvd
Dans un premier temps, je réaliserai une tente en fibre optique.Parallèlement, je filmerai des images à la fois ordinaires et «différentes», exprimant un décalage.Il existe des images que nous voudrions ne pas voir. Pourtant, ces images représentent un monde qui existe bel et bien.Peut-être, n’avons nous pas toujours la force ou le désir d’accepter la différence.Les spectateurs auront la possibilité d’entrer dans cette tente et seront plongés dans la lumière des images qu’ils refusent.En regardant cette lumière, ils pourront penser aux choses agréables qui sont associées aux nuances lumineuses.Je voudrais également réaliser une tente lumineuse dans laquelle chacun pourrait entrer et se reposer, en projetant l’image qu’il souhaite.Les spectateurs entreront dans cette tente comme dans un monde inconnu.
all.indd 55 22.03.2010 16:29:46 Uhr
De-camp, 2010. Pencil on paper. (50x53cm)
”Choose an appropriate hook. Hang the picture on the wall and adjust it so it´s straight.”
all.indd 56 22.03.2010 16:29:48 Uhr
this is dedicated to all these things, that could have been here as well.
all.indd 57 22.03.2010 16:29:48 Uhr
differentiation / dissociation2010, each 29,7 x 42 cminkjet print on photographic paper, aluminium frameinstructions: The work consists of two pieces, these should not be hanged side by side. Options are: The same wall with space or other art-works in between, different walls in the same room, different rooms.
The intent behind the work was to realise two versions of one original photograph that are equaliy coherent. This became necessary to repre-sent the potentialities of the original picture which could not be shown in a single version.
differentiation / dissociation
all.indd 58 22.03.2010 16:29:56 Uhr
differentiation / dissociation2010, each 29,7 x 42 cminkjet print on photographic paper, aluminium frameinstructions: The work consists of two pieces, these should not be hanged side by side. Options are: The same wall with space or other art-works in between, different walls in the same room, different rooms.
The intent behind the work was to realise two versions of one original photograph that are equaliy coherent. This became necessary to repre-sent the potentialities of the original picture which could not be shown in a single version.
differentiation / dissociation
Enigma
2010Holz, Glas, Messing, Elektrokabel, Pappe
63 x 32,5 cm
all.indd 59 22.03.2010 16:29:58 Uhr
E la nave va… And the ship sails on… Photoprint on aluminium, 120x80cm
all.indd 60 22.03.2010 16:29:59 Uhr
E la nave va… And the ship sails on… Photoprint on aluminium, 120x80cm
all.indd 61 22.03.2010 16:29:59 Uhr
Tri a
dé ! | 2
009 | 1
25 c
m x
220 c
m | m
ixed m
edia
on p
aper | to
be fi
xed o
n th
e w
all w
ith fo
ur b
ig n
ails
all.indd 62 22.03.2010 16:30:02 Uhr
Tri a
dé ! | 2
009 | 1
25 c
m x
220 c
m | m
ixed m
edia
on p
aper | to
be fi
xed o
n th
e w
all w
ith fo
ur b
ig n
ails
all.indd 63 22.03.2010 16:30:02 Uhr
Work: Lovers (2010) 55x55 cm, Mac Powerbook 100, Mac iBook G4, paint, corn syrup, varnish, plexiglass
Artist: Cécile B. Evans
all.indd 65 22.03.2010 16:30:07 Uhr
“eternal garden Berlin, as a stranger” was w
andering from one unused space to another during a year �from
14th May 2006 to 15th M
ay 2007� and occupied 31 places near Gartenstraße, Tucholskystraße or A
lexanderplatz in Berlin. W
ith my public intervention artw
ork I tried to explore the boundaries between public and private, betw
een me and the m
etropolis berlin, but also between real and fake, betw
een art and nature, because the tulips w
ere artificial: Made of plastic. Each tim
e when I m
ade a short intervention I used about 200 to 400 tulips. The w
hole intervention lasted usually only four hours. When the tulips w
ere planted and the result docum
ented, the artwork w
as removed again and the deserted space got lifeless again. I revitalized dead places to beautiful colorful places by using artificial dead m
aterial.
eternal garden Berlin, as a stranger, Nr. 22 K
ieler Str. 9.Feb.2007, Type C�print, dim
ension variable
Still images from the video Death, Disaster and Expensive Handbags, 2010. Video and audio, 17,02 min loop
The work is an homage to Jean-Luc Godard’s film Weekend 1967, and its exploration of a multitude of idéas that have been allowed to grow freely within the film structure. The mov-ing images (resembling a still image) and use of loaded coulour schemes are taken from the film directly, While the audio has gone through a chain of transformations, starting with the film dialogue as written text (my artist book, weekend, 2009). The text has been translated and transformed to music through an instrument called a Typatune (invented in the US in the 1950’s). The instrument looks like a typewriter, but every letter is a different tone. I have re-corded the sound, manipulated the result and combined it with one scene/one iconic image from the film.
all.indd 66 22.03.2010 16:30:10 Uhr
“eternal garden Berlin, as a stranger” was w
andering from one unused space to another during a year �from
14th May 2006 to 15th M
ay 2007� and occupied 31 places near Gartenstraße, Tucholskystraße or A
lexanderplatz in Berlin. W
ith my public intervention artw
ork I tried to explore the boundaries between public and private, betw
een me and the m
etropolis berlin, but also between real and fake, betw
een art and nature, because the tulips w
ere artificial: Made of plastic. Each tim
e when I m
ade a short intervention I used about 200 to 400 tulips. The w
hole intervention lasted usually only four hours. When the tulips w
ere planted and the result docum
ented, the artwork w
as removed again and the deserted space got lifeless again. I revitalized dead places to beautiful colorful places by using artificial dead m
aterial.
eternal garden Berlin, as a stranger, Nr. 22 K
ieler Str. 9.Feb.2007, Type C�print, dim
ension variable
Still images from the video Death, Disaster and Expensive Handbags, 2010. Video and audio, 17,02 min loop
The work is an homage to Jean-Luc Godard’s film Weekend 1967, and its exploration of a multitude of idéas that have been allowed to grow freely within the film structure. The mov-ing images (resembling a still image) and use of loaded coulour schemes are taken from the film directly, While the audio has gone through a chain of transformations, starting with the film dialogue as written text (my artist book, weekend, 2009). The text has been translated and transformed to music through an instrument called a Typatune (invented in the US in the 1950’s). The instrument looks like a typewriter, but every letter is a different tone. I have re-corded the sound, manipulated the result and combined it with one scene/one iconic image from the film.
all.indd 67 22.03.2010 16:30:11 Uhr
ARIT (III)1999-2000Blei, Silber, Eisen, Pigmentewax/oil/resin/acryl/polyurethane-dispersionSperrholz; 2-tlg: 170 x 62 / 170 x 112 cm
all.indd 68 22.03.2010 16:30:12 Uhr
ARIT (III)1999-2000Blei, Silber, Eisen, Pigmentewax/oil/resin/acryl/polyurethane-dispersionSperrholz; 2-tlg: 170 x 62 / 170 x 112 cm
Title of the series: Google Baby Photograph no. 22
Dimension: 2,4 x 6,4 cm Installed on Fruit Wood Support
all.indd 69 22.03.2010 16:30:13 Uhr
Herkes Mutlu Olacak - Everybody will become happyPermanent marker on inkjet prints, black adhesive tape 9 Frames à 20 x 30 cm Dimension of the whole installation approx. 2,50 x 3,00 m 2009
The work has its origin in a turkish photo-novel booklet from the 70s, found on a fleamarket. I reproduced its images twice as the story has two main characters: a man and a woman. By erasing visual information and text with black permanent marker and by changing the sequence I separated the protagonists from each other and abstracted them from the context and coherence of the original story. Are their gestures now set free to denote whatever we want? In the installation a selection of modified images is intertitled with a quote taken from the song Photographic by Depeche Mode.
all.indd 70 22.03.2010 16:30:17 Uhr
Good Vibrations
When two humans interact, when two bodies talk, a dynamic forms; a relationship.
In outer space, an orbital resonance occurs when two orbiting bodies exert a regular, periodic gravitational influence on each other. In most cases, this results in an unstable interaction, in which the bodies exchange momentum and shift orbits until the resonance no longer exists. The artists proposing this piece share a dynamic which is unstable. Their collaboration is passionate; they
often argue; they are dangerously attracted; they are violently repulsed.
But sometimes their dynamic is positive, calmer: their ideas fit, their energies inspire each other and fresh work is produced. And sometimes in outer space, under certain circumstances, a resonant system can be stable and self correcting, so that the bodies remain in sustained resonance. Sometimes the artists would like to be stable and self correcting, they would like to remain in resonance; in harmony. This piece is a recognition of that desire, a realisation.
Two large speakers face each other, connected by innumerable delicate black threads, which span the space between them. The threads resonate powerfully, creating wave patterns. In the centre of the space between, a quivering gold wedding band draws the threads together. Like the still centre of a storm, or a supermassive black hole at the centre of the galaxy: the closer to the ring, the stiller the threads, the closer to the speaker, the more wildly they move. The resonance is created by a pure tone played by the speakers that is below the range of human hearing, so the sculpture is 'silent', though anyone near who stands still for a time will be able to feel the unheard sound; to sense in a new way the potential smooth, dynamic space beyond our striated and binarised everyday lives.
This piece was created this year during a three-month residency in Berlin, by a duo who specialise in sound and textiles respectively, and is part of a project exploring the intersection of creative collaboration and domestic partnership.
MaterialsSpeakers, cotton thread, metal ring. [an amp, mixer and cabling are included in the set-up]
DimensionsThe length of the sculpture is variable, can be adapted to the space. Ideally no shorter than 220cm. The dimensions of the speakers are 85cm x 48cm x 41cm. A small additional space is required for the amp and mixer.
Installation DetailsThe piece would be installed in situ by the artists. Ideally it should be against a light background. It could, however, be installed in a dark place, in which case silver thread would be used. It can be installed directly on the floor, or at eye level with the speakers on white plinths. Power is needed, plus a small space nearby for the amp, mixer and tone generator. These and the cabling can be provided by the artists and hidden from view. Although the sculpture seems silent, it is possible to feel the tone; so it should ideally be in a small room, away from other sound works.
all.indd 73 22.03.2010 16:30:21 Uhr
395 dreams.
The project “Dreams2007” (2009) reflects on my subconscious mind in 2007. It is not an analysis of a single dream but rather a reflection of the rhythm of my inner emotions, my state of mind over the period of the whole year of 2007. Most important hereby has been the re-appearance of certain people – the main characters - events, and symbols. Their frequency and rhythm of occurrence.What does each main character, event, and symbol stand for? How would I analyze and interpret them myself in context of my conscious life? And does - and if so - how does their repetitive appearance influence their relevance? I want to stimulate the viewer to analyze and interpret these dreams themselves. What do they see in them, in the rhythm of the whole year? What story builds up in their minds when reflecting on and interpreting these dreams - and therefore eventually my subconscious mind?
Dream #339 involves my fictitious alter ego Christel Rosenberg.Christel re-appears in 19 more dreams.
Dream #339
Dream #339Double-sided inkjet prints16 x 20 cmPiled up, lying on a cube, easy to pick up, take home and start your collection of “Dreams2007”
all.indd 80 22.03.2010 16:30:30 Uhr
En AttEndAnt Godot (2010)100x70 cm
Digital print on Fine Arts paper
all.indd 81 22.03.2010 16:30:31 Uhr
Heap of Broken Images: Pumpkins2010Lithography, 57 x 76 cm
ENCOUNTER (2009)
Lambda prints, each image 30x40cm, framed separately, images hang next to each other with 3 cm distance
P. M. 1989 M. M. 1939
all.indd 83 22.03.2010 16:30:35 Uhr
Fünf Eindringlingealte Fotografie, eingriff mit Nadel, umrahmt, 20095,7cm × 8,5cm
all.indd 87 22.03.2010 16:30:40 Uhr
„oneframe thriller“ photoprint from videostillmounted on acrylic glas 30 cm x 20 cm
all.indd 88 22.03.2010 16:30:42 Uhr
„oneframe thriller“ photoprint from videostillmounted on acrylic glas 30 cm x 20 cm
all.indd 89 22.03.2010 16:30:42 Uhr
PERFORMANCE ein bisschen glitzern müssen wir jetzt da wir lebendig sind Material: paint brush, milk, white butterflies (paper), glitter Duration: 20 min This performance is about the melancholy of milk, the absence of frames, the weight of 70 butterflies on a back. Or maybe just the contrary. Photo: The audience can take pictures with a camera
all.indd 91 22.03.2010 16:30:44 Uhr
Robin is not gay, he just hang out too much150 x 123 cm. / Mixed media on canvas2010
all.indd 95 22.03.2010 16:30:49 Uhr
FORT APACHE, 2009, collage on wood, 60 x 60 x 15 cm
MOMENT #23, video projection - dimensions variable, 2 min loop, silent
all.indd 102 22.03.2010 16:31:01 Uhr
FORT APACHE, 2009, collage on wood, 60 x 60 x 15 cm
MOMENT #23, video projection - dimensions variable, 2 min loop, silent
all.indd 103 22.03.2010 16:31:01 Uhr
kubrick pilot, wallpaper/walldrawing, 85 x 90 cm
I am a mole in the city, Barcelona 2010
Titel: Ich bin ein Maulwurf in der Stadt
Aktion / Performance / Installation
Größe: bis zu vier Meter hoch, bis zu drei Meter breit; Material der Stadt, z.B. Sperrmüll, Müllsäcke, Schrott
Beschreibung: Eine blonde Frau in einer Bauarbeiterweste. Ein punktuelles, blitzartiges Auftauchen kennzeichnet ihre Aktionen und Interventionen im öffentlichen Stadtraum. Schnelligkeit, Wachsamkeit. Sie erscheint und verschwindet. Abtauchen. Sie bewegt sich im Straßensystem der Städte und hinterlässt Spuren: Hügel, die immer dieselbe Grundstruktur haben; die sich in Material und Größe unterscheiden und auf die Gegebenheiten des Stadtraums reagieren. Sie arbeitet in ihren Aktionen mit dem Material der Stadt: Sperrmüll, Müllsäcke, Pappen, Kunststoffe, Kartons, Holz, Steine, Schrott. Abhängig von Raum und Zeit fügt sie das Material zu Hügeln zusammen, schichtet, stapelt, legt übereinander, türmt auf. Die Hügel sind bis zu vier Meter hoch und sechs Meter breit. Für die Entstehung benötigt sie wenige Minuten, seltener Stunden. Die Gestaltung dieser Hügel hängt ab von der Beschaffenheit des Materials (Struktur, Form, Farbe, Konsistenz). Sie fotografiert die Hügel, verschwindet und zieht weiter durch die Stadt. Die Aktionen sind nicht an Tag und Nacht gebunden. Sie durchstreift die Städte, ist immer „ready to build“. Sie verwendet das Material, das ihr die Stadtbewohner zurücklassen und ihr damit als Ausgangsmaterial bereitstellen. Ihr Jagdgrund ist die Stadt. Sie ist ein Maulwurf in der Stadt.
Erläuterung zum Hintergrund der Arbeit
Der Maulwurf verbringt den Großteil seines Lebens in einem selbst gegrabenen, unterirdischen Gangsystem. Das Aushubmaterial wird an die Oberfläche geschoben, wobei die charakteristischen Maulwurfshügel entstehen. Eine Nestkammer unter der Erdoberfläche dient dem Maulwurf als Ruheplatz, als Nahrungslager. Maulwürfe haben keinen Tag-Nacht-Rhythmus, ihre Aktivität ist in Wach- und Schlafphasen unterteilt. Alfred Brehm (Brehm, A. E. 1876: Der Maulwurf. In: Brehm’s Thierleben) beschreibt den Maulwurf und seine Lebensweise: „Von seinem Aufenthalte gibt er selbst sehr bald die sicherste Kunde, da er beständig neue Hügel aufwerfen muß, um leben zu können. Diese Hügel bezeichnen immer die Richtung und Ausdehnung seines jedesmaligen Jagdgrundes. Bei seiner außerordentlichen Gefräßigkeit muß er diesen fortwährend vergrößern und daher auch beständig an dem Ausbaue seines unterirdischen Gebietes arbeiten. Ohne Unterlaß gräbt er […] und wirft, um den losgescharrten Boden zu entfernen, die bekannten Hügel auf. […] In leichtem Boden gräbt er mit einer wirklich verwunderungswürdigen Schnelligkeit. […] Schon aus dem bis jetzt Mitgetheilten ist hervorgegangen, daß der Maulwurf im Verhältnis zu seiner Größe ein wahrhaft furchtbares Raubthier ist. Dem entsprechen auch seine geistigen Eigenschaften. Er ist wild, außerordentlich wüthend, grausam und rachsüchtig und lebt eigentlich mit keinem einzigen Geschöpfe im Frieden, außer mit seinen Weibchen, mit diesem aber auch bloß während der Paarungszeit. […] So ist es sehr begreiflich, daß jeder Maulwurf für sich allein einen Bau bewohnt und sich hier auf eigene Faust beschäftigt und vergnügt, entweder mit Graben und Fressen oder mit Schlafen und Ausruhen.“ Der Maulwurf arbeitet mit außerordentlicher Schnelligkeit „drei Stunden ‚wie ein Pferd‘ und [schläft] dann drei Stunden“, er „ist im Sommer und im Winter in ewiger Bewegung“. Zu den Jungtieren schreibt Alfred Brehm: „Ihre ersten Versuche im Wühlen sind noch sehr unvollkommen: sie […] versuchen es nur selten, Haufen aufzuwerfen. Aber die Wühlerei lernt sich mit den Jahren, und im nächsten Frühjahre sind sie schon vollkommen geschult in ihrer Kunst.“
all.indd 107 22.03.2010 16:31:09 Uhr
s
HOW TO MAKE SOUVENIRS If you are afraid you are going to forget, place reminds into your landscape.
Action art and infiltrating practices.Data collecting project.
MaterialOne computer with skype connection.One table One chair
The ''How to make souvenirs'' project attempt to deal with the city space via small interventions. The title is clearly a proposal given to the Equinox exhibition's visitors. They will get the possibility to "entrust" to me a personal story, related to a specific public place in berlin (bus stops, door way, parc, bar...).
The way of collecting people's souvenirs have to be in an exchange, talking to someone's face. For this service,( social? medical? therapeutic?), I will be the only contact to tell story to. From my atelier in Berlin, I will be available via skype to collect stories from visitors who will call during the time of the exhibition.
All souvenirs will be interpreted and transformed into small interventions in the places they are related to. Stories and documentations ( mostly photographs ) from interventions will be collected in a book. The final work of compilation will be a stitched map 1.5/1.2m big of Berlin. Only the locations of the souvenirs will be represented, a poetic way to "draw" a map with the experiences the city contain.
First collected . Souvenir bus X9"We have taken the bus X9 at 6:03 am. It is during this way of 17 minutes to Tegel Airport that I gave him 7 packs of milka daim, each tagged from the 21 february to the 27 february. I have explained that he was supposed to use them as a countdown made out of chocolate, a substitution of my absence.
When I came back, I kept the post-it from 26th February's pack.The post-it embody this moment in the bus X9. The moment I have established with him a countdown of a different meaning today. A countdown of 5 days 2 hours and 57 minutes between the moment in the bus X9 and the moment my grand-father died." L. 03/03/10.
For the infiltration I went in the bus X9 and I have stitched 5t.2h.57m. It is a 1 per 5 cm big intervention on one of the sits of the bus. The souvenir have been given back to the city.
all.indd 108 22.03.2010 16:31:10 Uhr
s
HOW TO MAKE SOUVENIRS If you are afraid you are going to forget, place reminds into your landscape.
Action art and infiltrating practices.Data collecting project.
MaterialOne computer with skype connection.One table One chair
The ''How to make souvenirs'' project attempt to deal with the city space via small interventions. The title is clearly a proposal given to the Equinox exhibition's visitors. They will get the possibility to "entrust" to me a personal story, related to a specific public place in berlin (bus stops, door way, parc, bar...).
The way of collecting people's souvenirs have to be in an exchange, talking to someone's face. For this service,( social? medical? therapeutic?), I will be the only contact to tell story to. From my atelier in Berlin, I will be available via skype to collect stories from visitors who will call during the time of the exhibition.
All souvenirs will be interpreted and transformed into small interventions in the places they are related to. Stories and documentations ( mostly photographs ) from interventions will be collected in a book. The final work of compilation will be a stitched map 1.5/1.2m big of Berlin. Only the locations of the souvenirs will be represented, a poetic way to "draw" a map with the experiences the city contain.
First collected . Souvenir bus X9"We have taken the bus X9 at 6:03 am. It is during this way of 17 minutes to Tegel Airport that I gave him 7 packs of milka daim, each tagged from the 21 february to the 27 february. I have explained that he was supposed to use them as a countdown made out of chocolate, a substitution of my absence.
When I came back, I kept the post-it from 26th February's pack.The post-it embody this moment in the bus X9. The moment I have established with him a countdown of a different meaning today. A countdown of 5 days 2 hours and 57 minutes between the moment in the bus X9 and the moment my grand-father died." L. 03/03/10.
For the infiltration I went in the bus X9 and I have stitched 5t.2h.57m. It is a 1 per 5 cm big intervention on one of the sits of the bus. The souvenir have been given back to the city.
all.indd 109 22.03.2010 16:31:10 Uhr
„Wie
ge
nlie
d s
pä
t, s
eh
r sp
ät“
20
09
, S
ch
uh
e,
Str
um
pfh
ose
n,
Ho
lz,
Be
tttu
ch
,
Grö
ße
va
ria
be
l
all.indd 110 22.03.2010 16:31:11 Uhr
„Wie
ge
nlie
d s
pä
t, s
eh
r sp
ät“
20
09
, S
ch
uh
e,
Str
um
pfh
ose
n,
Ho
lz,
Be
tttu
ch
,
Grö
ße
va
ria
be
l
all.indd 111 22.03.2010 16:31:12 Uhr
Lunge, 2009/ 64 x 52 x 11 cm/Porzellan, Engobe, Fleisch, Salz, Hartfaser
all.indd 113 22.03.2010 16:31:17 Uhr
Jäger#1 Oil, acrylic on canvas, 24x18 cm,2010. Installation; put nail or screw in wall, hang painting, write title left under painting on wall with pencil.
all.indd 114 22.03.2010 16:31:42 Uhr
Bolero 2008 C-Print, Diasec gerahmt / Schattenfuge 18 cm x 20 cm
all.indd 117 22.03.2010 16:31:48 Uhr
FACTS & FICTION IS ACCOmpANIed by AudIO-FIleS
dOCumeNTINg The experIeNCe OF m
IgrANTS whO CAm
e TO wOrk IN germANy.
reCOrded by luONg IN 2004, They hAve reCeNTly beeN ArrANged INTO A dyNAm
IC ANd ThOughT-prOvOkINg COm
pOSITION. The FIve AudIO-FIleS plAy
ON heAd-phONeS hANgINg FrOm
The CeIlINg CreATINg A TeNSe ATmOSphere.
uSINg TheSe meThOdS luONg IS expANdINg her OwN
hISTOrICAl-pANOrAmA wITh A vISuAl-phOTOgrAphIC
ANd geNder-OrIeNTATed AlTerNATIve drAFT, bASed upON OrAl bIOgrAphIeS OF A TheOreTICAl
pAreNT geNerATION.
FACTS InITIAlly They w
ere grAnTed A ShorT-Term reSIdenCe perm
IT And evenTuAlly Full CITIzenShIp.
mulTI m
edIA InSTAllATIon | 4 SlIde projeCTorS In loop |
1 Sound SySTem w
ITh 4 boxeS
The NArrATIve phOTO SerIeS „ruTh” OFFerS AN AuTObIOgrAphICAl INSIghT INTO
„12 FemININe lANdSCApeS“
OF berlIN bASed ArTIST. Twelve “ASIAn SnACk dInerS”, reCOrded AT NIghT,
puT The phOTOS IN CONTexT wITh berlIN. whIle luONg herSelF ANd The dreSS,
geNerATINg A SymbOl OF Fem
ININe replACeAbIlITy, Are The FOCuS OF her SelF-pOrTrAyAl,
The AbANdONed SNACk STAllS ONly STANd FOr ThemSelveS.
ThIS CONTrAST SubmITS pOlArIzed Im
AgeS OF AdApTION, ShOwINg A Seem
INg TrANSlATAbIlITyOF INdIvIduAl ANd CulTurAl CONTeNTS.
FACTS & FICTIon IS projeCTed onTo The wAllS by Four SlIde projeCTorS uSIng SCrApS oF The SerIeS:
„ruTh” And “ASIAn SnACk dInerS”FICTIon
! o.T.! Acryl, Metall, Keilrahmen, Stickgarn! 7-tlg; je 13 x 18 cm
all.indd 120 22.03.2010 16:32:20 Uhr
! o.T.! Acryl, Metall, Keilrahmen, Stickgarn! 7-tlg; je 13 x 18 cm
all.indd 121 22.03.2010 16:32:21 Uhr
The installation for my latest pinhole series is made of bent white hardboard. The tension of the red rubber forces the board into its position.
Exposure Time: 40 minutes
“String 1: Tod, Abschied, Trauer”2010, Pinhole photograph, 27 x 40 cm
all.indd 130 22.03.2010 16:35:22 Uhr
The installation for my latest pinhole series is made of bent white hardboard. The tension of the red rubber forces the board into its position.
Exposure Time: 40 minutes
“String 1: Tod, Abschied, Trauer”2010, Pinhole photograph, 27 x 40 cm
all.indd 131 22.03.2010 16:35:23 Uhr
2 Installation views from a series of three-dimensional collages called Installation I-VI conceived for the exhibition Reverse and Cycle Stripes FREE ADMISSION
left:Installation V (Josephine Baker), silkscreen on plywood panel, mixer alminium case, Xerox print on print-out paper, Xerox on Hahnemühle paper (hand-made paper/Bütten), 2010
The several parts of Installatiom V to be leaned against the wall.
right:Installation III (Sparkling), silkcreen on chipboard, cardboard box, mixer aluminium case, music stand, re-cord, framed Xerox on Hahnemühle paper (hand-made paper/Bütten), LED tablet DVD player, video anima-tion transferred to DVD, electric rubber cable, 2010
The several parts of Installation III to be put on top of and leaned on each other. The LED tablet DVD player needs some electricity supply.
all.indd 132 22.03.2010 16:35:24 Uhr
2 Installation views from a series of three-dimensional collages called Installation I-VI conceived for the exhibition Reverse and Cycle Stripes FREE ADMISSION
left:Installation V (Josephine Baker), silkscreen on plywood panel, mixer alminium case, Xerox print on print-out paper, Xerox on Hahnemühle paper (hand-made paper/Bütten), 2010
The several parts of Installatiom V to be leaned against the wall.
right:Installation III (Sparkling), silkcreen on chipboard, cardboard box, mixer aluminium case, music stand, re-cord, framed Xerox on Hahnemühle paper (hand-made paper/Bütten), LED tablet DVD player, video anima-tion transferred to DVD, electric rubber cable, 2010
The several parts of Installation III to be put on top of and leaned on each other. The LED tablet DVD player needs some electricity supply.
all.indd 133 22.03.2010 16:35:25 Uhr
Von: spunk seipel <[email protected]>Datum: 7. März 2010 23:28:13 MEZAn: grim projects <[email protected]>Betreff: Re: Reminder: Equinox* Call for Entries-Deadline 08.March
Proposal
Destroy the Brothers Grimm
The Brothers Grimm influenced our view on the world, because we have heard all their collected fairy tales in our childhood and we got from these days absurd fears, which have nothing to do with our lives.E.g., do we all know the stories from „Rotkäppchen“, and are in total fear about wolves, but nobody has ever seen a wolf in freedom. They do not exist in Germany, except very few in Brandenburg, in an area, where almost nobody lives.For that reason, i would like to paint out of the piss from wolves (which i get from the zoo, i already organised that) the portrait of the brothers Grimm. Size will be between DinA4 and DinA 3.So, it is the late revange from the wolves to the men, which wrote down the stories of the bad wolves.
Spunk Seipellives in Berlin
Exhibitions in 2010:March: Galery serial works, Cape TownApril/May: Galerie Weisser Elefant, BerlinAugust: Kunstverein Kleinzetelvitzand coming more.
Spunk SeipelHobrechtstr. 2912047 Berlin
2010/3/2 grim projects <[email protected]>http://www.grimmuseum.com/projects/page24/files/equinox-download-application.pdf
all.indd 134 22.03.2010 16:35:31 Uhr
This is a book about Rome. It is anattempt to be about reason, notexplanation – and an opportunity toshare the experience. It is a guide forwalking through Rome and findingyour own words and images for whatyou see and feel.
Giovanni Battista Cipriani’sItinerario (1835) guided me one yearfor my ‘walk’. In the way that hisetchings encouraged me to beinspired by the inexhaustible treas-ures of this city, this book too may beit’s readers companion. Blank pagesoffer enough space to inscribe yourown notes.
The book is divided into eight chap-ters, each of which contain eightplaces. In between the sketches aremy own poems and thoughts, someof them give you my personal viewof the sites.
For each of the 64 locations you willfind a map embedding them intotheir surroundings. These mapsshow, like the 1749 Nolli Plan theimportant floor plans of public inte-
riors. The geometer GiambattistaNolli was the first to include publicouter and interior spaces into onemap. The exact coordinate of themeridian and latitude can be usedfor orientation. As early as 1450 AD,the Renaissance architect LeonBattista Alberti gave the first numer-ic descriptions of monuments andthe walls of Rome in coordinates. Inhis Descripto Urbis Romae his systemworked with concentric circles begin-ning with the Capitol Square.Innovative satellite technology oftoday brings the coordinates and thepictures they describe into directsensory contact. Psychology and thephysical existence of places becomemore and more compatible with digi-tal media. The possibility of a decen-tralized and place-specific ‘townmemory’ is incredibly near.
My walk through Rome was anattempt to confront myself in anunprejudiced way with the placesand their architecture. If the readercan share this effort, it would be myjoy.
Roman Notes
An open-source and slow-travelGuide for Rome. All Books thatwill be temporarily returned toit’s Author become part of anExhibition in 2020. Eight chapters,64 places, 288 pages, 112 emptypages for your own notes, hardcover binding. Ten of the bookscan be bought during theExihibition for 20 Euro includingslipcase.
all.indd 135 22.03.2010 16:35:32 Uhr
Roots, 175x70x60cm, fabric, wool, wax, shoes, wood, beads, lace
all.indd 136 22.03.2010 16:35:36 Uhr
Wenn D
eutsche lustig sind – Dokufiction : E
röffnung Palast der R
epublik, Berlin (O
st), 1976A
us der Serie W
enn Deutsche lustig sind – D
okufiction: Das 20. Jahrhundert
Silbergelatine P
rint auf Baryt, 5
0x4
0 cm
, gerahmt, 2
00
9
Die S
erie Wenn D
eutsche lustigsind – D
okufiction: Das 20.
Jahrhundertumfasst die künst-
lerische A
useinandersetzungm
it dem gesam
ten deutschen2
0. Jahrhundert. D
urch seineM
anipulation von Fotos aus Ar-
chiven erforscht der Künstler
Präsentationsform
en von his to -rischem
Dokum
entationsmate-
rial. B
eweggrund
seinerR
echerche ist
der U
mgang
damit in den M
edien. So w
er-den im
Fernsehen original hi-storische
Aufnahm
en m
itS
pielfilmszenen gem
ischt undder
Unterschied
ist für
denschein baren A
ugenzeugen oftnicht m
ehr erkennbar. Wird G
e-schichte aus purer S
ensations-gier
oder G
edankenlosigkeitgefälscht und nicht um
Historie
umzuschreiben?
So benutzt der A
utor in derS
erie imm
er mehrere histori-
sche Fotos
für eine
Arbeit.
Montiert zu einer einzigen ge-
schichtlichen Situation, agiert er
darin in mehreren R
ollen zu-gleich. D
urch das künstlerischeS
piel mit Identitäten w
ird derB
etrachter angeregt, sein indi-viduelles
soziales B
ezugssy-stem
zur
Geschichte
zuüberdenken:
Welches
wäre
dein, welches m
ein Part gew
e-sen, w
enn wir dam
als gelebthätten?
<territory theorist> portrait of a face on an lcd screen. an antique sony cybershot camera has been used to reinterpreta paused video frame. the camera served as a black box producing unpredictable digital refractions. the whole image aims to represent the sensitive atmosphere of humanity at the melting point | wall object, alu dibond, 91x69cm, 2010
all.indd 140 22.03.2010 16:35:42 Uhr
<territory theorist> portrait of a face on an lcd screen. an antique sony cybershot camera has been used to reinterpreta paused video frame. the camera served as a black box producing unpredictable digital refractions. the whole image aims to represent the sensitive atmosphere of humanity at the melting point | wall object, alu dibond, 91x69cm, 2010
all.indd 141 22.03.2010 16:35:42 Uhr
Sonntagskinder
„N
ur Sonntagskinder hören die versunkenen Glocken“
(de Gruyter H
andwörterbuch des deutschen A
berglaubens)
Diese A
rbeit beschäftigt sich mit der Frage, w
ie man m
it der Irrealitätkom
munizieren kann.
Das W
asser wird zum
potenziellen Transportmittel dieser K
omm
unikation.
Installation 2009 ; Holz, Plexiglas, B
ronzeglocke, Wasser; 200 x 65 cm
Spectre IV C-Type Print 60x50 cm Mounted on MDF
all.indd 144 22.03.2010 16:35:51 Uhr
Sputnik *1(Berlin - Salzburg - Kraljevo)
photoseries, since 20073 parts, digital prints, 20x30cm each
all.indd 146 22.03.2010 16:35:52 Uhr
Typewriter´s friend
2009Holz, Metall, Chrom, Lacke160 x 110 x 74 cm
all.indd 154 22.03.2010 16:36:06 Uhr
The
Unnam
eable
,’ 2
4x30in
ches
, in
kje
t pri
nt,
2009.
Yo
u a
re n
ot
to s
pea
k H
er n
ame,
an
d y
ou
are
no
t to
ack
no
wle
dg
e H
er p
rese
nce
, fo
r S
he
is a
lway
s th
ere
bu
t S
he
is u
nn
amea
ble
. S
he
has
ris
en f
rom
th
e se
a w
ith
an
elep
han
t o
f te
n t
usk
s an
d s
even
hea
ds.
Sh
e h
as t
amed
th
is b
east
an
d c
alls
it
Her
ow
n.
Yo
u w
ors
hip
Her
fo
r H
er v
icto
ry,
and
fea
r H
er f
or
Her
ele
ph
ant.
To
wel
com
e
Her
is
to s
ucc
um
b t
o H
er i
nfl
uen
ce.
Sh
e w
ill
surr
ou
nd
yo
u a
nd
su
ffo
cate
yo
u.
At
nig
ht,
wh
en y
ou
are
sle
epin
g,
Sh
e se
arch
es f
or
mo
re.
Mo
re f
ilth
an
d m
ore
ev
il,
too
mu
ch i
s n
ever
en
ou
gh
. S
he
liv
es i
n t
he
shad
ow
s o
f al
l co
war
ds,
lia
rs a
nd
ch
eate
rs.
Th
ey f
oo
lish
ly t
hin
k t
hey
hav
e ta
med
Her
, th
at t
hey
hav
e ch
ann
elle
d H
er e
ner
gy
.
Th
ey t
ake
the
elep
han
t fo
r a
wal
k w
hen
they
nee
d t
o,
when
it
serv
es t
hem
. W
hen
it
serv
es H
er.
all.indd 155 22.03.2010 16:36:06 Uhr
untitled 2009 110 x 91,5cm mixed media on transparent paper framed
Untitled, 70x110cm, Ink on Paper, 2010 No specific installation details
all.indd 156 22.03.2010 16:36:11 Uhr
Untitled, 70x110cm, Ink on Paper, 2010 No specific installation details
all.indd 157 22.03.2010 16:36:12 Uhr
waiting for kodama / series of 4 drawings each 23 x 30.5 cm / perforations on black paper / hung 20 cm from wall or window with 3.5 cm spacing:
Will call you !Ongoing project.
Phone numbers collected in late night bars in Berlin, London, Vienna and Japan.The artist would talk as long with a stranger till he or she would o�er her phone number, then the artist departs with a hopeful : I will call you!
Size and material variable, mostly pocket size and with creases, best shown on wall with pins or glue pads.
all.indd 158 22.03.2010 16:36:17 Uhr
waiting for kodama / series of 4 drawings each 23 x 30.5 cm / perforations on black paper / hung 20 cm from wall or window with 3.5 cm spacing:
Will call you !Ongoing project.
Phone numbers collected in late night bars in Berlin, London, Vienna and Japan.The artist would talk as long with a stranger till he or she would o�er her phone number, then the artist departs with a hopeful : I will call you!
Size and material variable, mostly pocket size and with creases, best shown on wall with pins or glue pads.
all.indd 159 22.03.2010 16:36:18 Uhr
01. April
09. April 2010
[ Version Leifsdottir]
2 cu
rato
rs
2 sh
ows
the
sam
e ar
tist
s
Wednesday-Sunday 14-19 h. Fichte Strasse 2, 10967 Berlinwww.grimmuseum.com [email protected]
all.indd 166 22.03.2010 16:36:27 Uhr