2022
Cars, smartphones, power banks, router, car battery, software;
3-channel audio installation (12:40 min)
Voice overs: Elliot Hardman, Gwendolyn Rooker, Jessica Marie Fisher
Music production: Adrian Sölch
'Feelings sell better then statistics'
'Their problems are more vital then your problems'
2019
Hybrid corn plants,
white thread;
Variable dimensions;
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;
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
2018 - 2019
Bamboo, pvc-hoses, cable ramps;
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.
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.
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)
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.
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.
2016
Wood, polyurethane foam;
Variable dimensions;
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.
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‘.