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It’s hard to think outside the box
when you can see around corners

Parking Garage under the new AdBK Munich building (1)


3-channel audio installation (12:40 min)

Voice overs: Elliot Hardman, Gwendolyn Rooker, Jessica Marie Fisher
Music production: Adrian Sölch

Cars, smartphones, power banks, router, car battery, software;

 

Classroom of the class Olaf Nicolai at the AdBK Munich (2)


Audio installation (continuous)
Six car horns, car battery, micro computer, relais, software

'Their problems are more vital then your problems'

'Feelings sell better then statistics'

Bei nächster Möglichkeit geradeaus

2019

Hybrid corn plants,
white thread;

Variable dimensions;

Single corn plants were isolated from the uniformity of a field.
They were dismantled carefully and rebuilt one by one in modified forms. Leaves were removed, reformed and added elsewhere;

Die Kreuzung als Glücksfall
(Tatzelwurm)

2019

HD-Video (2:19 min) with audio;

Exhibition concept and curation with the Tatzelgroup collective.

base: e.g. a cow ]...[ + > accumulated (working title)

2018

Steel, plywood, fibreboard, belt straps, glased ceramic, acrylic glass, a cow figure, parts of Barry Le Va‘s Equal Quantities (1967), four drawings of Barry Le Va‘s Accumulated Vision (1967) series;


Variable dimensions;


Together with Lena Grossmann;

Put your life here LOL (bike stands)

2019 – ongoing

zink-coated steel, chains, locks;

(1) 105 x 50 x 65 cm
(2) 65 x 65 x 40 cm
(3) 180 x 80 x 80 cm
(4) 160 x 40 x 85 cm

Put your life here LOL (bike stands) are objects for public space. In a deliberate confusion of standardized bike stand elements in various degrees of function and misappropriation they meander between possible new configurations of familiar genes and an ornamentally drifting design language.

Thoughts on organization

2018 - 2019

Bamboo, pvc-hoses, cable ramps;

Bamboo canes of roughly the same diameter are cut to different lengths and connected with transparent PVC tubes on site.

In this work I understand a specific space as a partner.
I see its change and also the different contexts coming with it as an opportunity to constantly rethink and adapt the work.
The presentation inevitably departs from its original format to occupy or ‘fit’ the new space. Therefor, the work as such and the space it occupies are inextricably linked, allowing for diverse (and sometimes conflicting) interpretations concerning its function in the context of other visible infrastructures.

Shift

2017

lime wood;

9,5 x 9,5 x 4,5 cm (6)
9,5 x 9,5 x 2,5 cm (6)

As part of Quality Time, a series of interventions at Kunstverein Munich during the exhibition of Karel Martens and Adam Putnam.

Wooden blocks are stacked under several feet of the sofas in the cinema space of the Kunstverein Munich. The viewer of Adam Putnam’s video (the video deals with the relationship of symmetry and dissymmetry and the connection of the physical self to enclosed space) notices a slight physical discomfort, but as the changes are very subtle, the reason for this feeling remains hidden.

Spielplaats

Spielplaats offers young visitors to the Kunstverein space to make their own experiences with the printing trade.
The playful examination of the functionalities of color mixing and color theory thus directly refers to Marten's monoprints and his teaching activities. With its conscious positioning in the foyer, the intervention also wants to raise questions about the necessity of the existence of institutional mediation of art and leaves a conscious method of mediation just as experimentally open as the outcome of the intervention.

2017

Wooden stamps, archive letters from the Kunstverein;

Variable dimensions;

As part of Quality Time, a series of interventions at Kunstverein Munich during the exhibition of Karel Martens and Adam Putnam.


Together with Maximilian Schachtner.

‚We are a very lucky generation, but the next generation will be even more lucky!‘ (chinese car salesman)

2017

Fibreglas, resin, acrylic filler, wax folie;

22 x 30 x 8 cm (1)
31 x 12 x 40 cm (2)
49 x 50 x 12 cm (3)

Speed Ritual

2017

Polyurethane-foam, synthetic clay, clay, reinforced steel, undershirt, aluminium trolley, scooter, fibreglas, resin, plaster,
white acrylic filler, fridge, wood, Erlkönig-foil, black and white lacquer, photo postcards, silver fabric;

Variable dimensions;


Together with Laura Leppert.

Speed Ritual
(Moment you own it)

2017

125 cm x 30 cm x 25 cm

Polyurethan-foam, polyester fil-ler, acrylic filler, silver metallic car paint, clear coat;

Overbreeding the automotive ‚faster, further and higher,‘ a hybrid silver harpy bird arose. Motionless, robbed off its wings and lying on the side it appears frozen at top speed. Under several layers of clear coat his flawless, sharply contoured face dissolves into dynamic lines on the side of his wingless body.

Probably wood (tools)

2016

Wood, polyurethane foam;

Variable dimensions;

Material: unknown; dimensions: unknown

2016

Bamboo, polyester tape;

Variable dimensions;

The use of bamboo as scaffolding material in Asian or South American countries - its local growth area - and the fact that bamboo scaffolding, due to its flexibility, is more resistant than industrial, standardized steel scaffolding, was the starting point for the work Dimensions: unknown, Materials: unknown. The work thematizes the scaffold as the potential of a space that goes beyond itself as it is hard to think without a possible positive.

Delta t – placement of matter

2015

Phosphorescent canvas, wood, autopoles, UV-Led-spots;

Variable dimensions;

Together with Jennifer Keusgen;

At varying time intervals, two wooden frames covered with phosphorescent fabric are exposed by two opposed UV-LED spots. The moment a spot is shut off the actual spatial situation in the exhibition space appears on the canvases. It lingers on them for just a few seconds before it disappears again forever – the preservation of the captured moment is substituted by its continuous disappearance. ‚Delta-t‘ – astronomical term for the difference between Terrestrial Time and Universal Time – can thus also be read as a metaphor for the  status of the image in its function as a supposedly secure image of ‚reality‘.