02/21: Diploma presentation @Academy of Fine Arts, Munich
02/20 – 06/20: Focus Europe I @Schafhof – Europäisches Künstlerhaus Oberbayern, Freising
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; stalks were adapted.
Die Kreuzung als Glücksfall (Tatzelwurm)
2019
HD-Video (2:19 min), with audio;
Exhibition concept and walk together with the Tatzelgroup collective.
The participants are guided to an area lying fallow. It is flanked by railway lines and a recycling yard. A highway spans a large part of the site. Several actions take place.
A tea from plants of the area is served (S.Doerfel) and a jogger going in circles repeatedly approaches the group, addressing text fragments to individual persons and to the roaring traffic (A.Soelch). A woman picks up a jacket from the ground and puts it on (A.Lachner).
An audio walk (L. Leppert & G. Zabarella) directs the participants to a hotel lobby where the welcoming TV-screens show a video replacing the hotel's tourist programm (R.Krome). In the video, the previosuly visited area appears. The video makes heavy use of stereotypical camera pans and accelerated zooms – rotating slowly around pillars, crawling along wall textures, scanning the underside of the high up motorway or flying smoothly over seemingly endless stairs.
base: e.g. a cow ]...[ + > accumulated (working title)
2018
Steel, plywood, fibreboard, belt straps, ceramic (glased), 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.
base: e.g. a cow ]...[ + < accumulated (working title) refers to a series of four drawings from the ‚Accumulated Vision‘ series by artist Barry Le Va. The multipartite installation consists of several approximately breast-high, curved steel arches running across the room, equipped with long perforated wooden stencils flanked by round wooden boxes containing different sets of analytical drawings. At one end of the steel barrier there is a large funnel, which seems to literally suck in one of Le Va‘s four drawings. Le Va‘s graphics are composed of lines, dots and mathematical-looking signs loosely placed on the sheet. Lines meeting at right angles indicate an architectural space, while at the same time they are reminiscent of diagrams with the signs situated below and next to them. Le Va realized the corresponding installations of the Accumulated Vision series with minimal means in the form of wooden rods and circular blocks in space, marking an invisible geometry or system that can somehow be felt in space, but at the same time hardly be deciphered. Grossmann and Krome make an attempt in this direction with their work: sheets with analytical drawings can be found in the round wooden containers stacked one above the other. They show drawings of systems of relations, partly provided with short notes, abbreviations or mathematical formulas Grossmann and Krome developed while analysing and interpreting the work of Le Va. Based on these studies, they created an installation work which invites the viewer to interact: the wooden containers want to be rearranged and the insertion templates or rulers want to be fanned out. New systems of relations want to be revealed with the black ceramic dots sitting on the round steel bases awaiting their potential use!
Text: Sabine Weingartner
Put your life here LOL
(bike stands)
2019 – ongoing
Steel (zink-coated), 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.
Above: installation views at Jahresgaben 2019, Kunstverein Munich, 2019. Photo above left: © Kunstverein Munich.
Installation views of bike stands 1, 2 and 3 at Territory of Ready, MaximiliansForum Munich, 2018/19.
(Exhibition concept for Munich‘s MaximiliansForum and the surrounding underground intersection – together with Sarah Dörfel, Michael Mieskes and Laura Leppert)
2019
Photos: Barbara Hartmann Tumba.
In Territory of Ready Sarah Doerfel, Raphael Krome, Laura Leppert and Michael Mieskes enter into negotiations with this underground entanglement of urban planning history, economic mutation and the exhibition site – embedded in the profane of an underpass. They juxtapose the public space with supposed art objects; they insert functional objects and 'camouflage-like' installations into the exhibition space. Their interventions search for relationships in the various, fragmentarily readable reference systems of the site and design shiftable boundaries within them.
Companion
2018
LED stripes, micro-computers, motion sensors;
Variable dimensions;
Thoughts on organization
2018–19
Bamboo, PVC-hoses, 'Defender' cable-ramps;
Installation view at Förderpreise der Stadt München 2018, Lothringer 13 Halle, Munich *CLICK*
Thoughts on Organisation at Jahresgaben 2018, Kunstverein Munich.
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 in 2017.
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 – dealing 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
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 in 2017.
Together with Maximilian Schachtner.
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.
Kein Preis Nichts
2017
Curatorial project. Exhibitions concept together with students from the class Nicolai.
The centre of the room is empty. On the first day of the opening the class Olaf Nicolai only shows the potential of a possible exhibition. The students of the class are present.
During the next eight days, 13 independent exhibitions will be created by eight groups that have previously formed. The end walls of the exhibition space point to what is possible: on one side the material for the installations, ready-made objects, art objects and technology are stored next to each other – with the name of the respective artist using the materials written next to it. On the other side, a wall graphic shows the forthcoming process:
A daily reconstruction phase between 5 p.m. and 6 p.m., accessible to the viewers, reveals performative aspects of exhibiting. On the last weekend, all variants and room situations will be compressed into one complete exhibition. Each work occupies the same space that it occupied in the previous group exhibition - now including overlays and double projections. What do the independently chosen locations say about the overlapping works? Which locations are the most popular? Why? How do the works influence each other?
Text: Julia Maier
Thoughts on optimisation (properties, qualities)
2016 - 2017
bamboo, plasticine, polyurethane,
6 x 6 x 425 cm (adjustment)
9,5 x 9,5 x 75 cm (consistence)
3,5 x 3,5 x 300 cm (adaption)
‚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)
Probably wood (tools)
2016
wood, polyurethane foam;
Variable dimensions;
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.
What objects would a fictitious excavation in the distant future reveal if they were designed by a society that paid homage to speed as its supreme principle of life?
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.
material: unknown; dimensions: unknown
2016
bamboo, polyester strapping 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‘.
