LESSSER at Kunstraum: Morgenstraße

We invited LESSSER feat. Maika Hassan-Beik to produce an installation for the Kunstraum: Morgenstraße in February. LESSSER’s works are highly self-referential, creating an entire universe of biographies and authors and authors’ biographies. Yet, the atmosphere provided by the installation itself and the artists’ performances is enough to draw you into this universe; the opening evening was a very unique experience, with everyone talking in hushed tones as if they were suddenly trapped in a stranger’s room.

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(Say it With Mushrooms)

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Gregor Gleiwitz: “a head ago” at Kunstraum: Morgenstraße

Gregor Gleiwitz‘ exhibition in the Kunstraum is a first for us, as we have up till now never used architectonic elements so prominently. His idea was to create situations in which only one of his paintings can be focussed on; the only possibility to compare the individual paintings or to put them in a specific order – or narrative – is to recreate them from memory. This, of course, made the exhibition also quite hard to photograph. But this is good, as Gregor’s paintings should be seen in original, and not via installation shots. Our friend Roland Meyer wrote a fine introduction (“Vom Werden der Bilder”) as to why.

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(Frozen Goods)

A Happy New Year 2011 …

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Maciej Jerzmanowski: “Spacer”

Maciej Jerzmanowski has been doing installative & performance pieces in 70s/80s Poland. I wrote a short text on one of his works for Kunstbriefe.de. It is called “Spacer” – “walk”, as in taking a walk; in my interpretation, a piece on the artist as actor (and agent) against the backdrop of the city and its institutions. Read my text here (in German).

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“Déformation Professionnelle” at Kunstraum: Morgenstraße

Daniel Kiss and Sebastian Tröger from Nürnburg turned the Kunstraum: Morgenstraße into a paraphrase of an exhibition with their installation “Déformation Professionnelle”, the objects being less exhibition pieces than pieces of an exhibition. I wrote an introduction for the opening.

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five in a row II

Another five in a row after the summer break at Kunstraum: Morgenstraße. Again, we had a very heterogeneous programme, starting with a video by Nina Olczak (you can view the entire video here, although it is of course meant to be screened life-size). Then, we had paintings and a cut-out by Maria Kropfitsch, a media installation by Tobias Wyrzykowski, and two performance pieces: An action by a seminar on “Traps” from the HfG, which cleverly left everyone thinking that the art is elsewhere, and they, by chance, have lost the opportunity to see it; and an coal piece by Michael Schmitt, which transformed the art space into a 30m2 installation.

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The Daniel Libeskind Research Studio

In 1999-2003, Daniel Libeskind held seminars at the HfG Karlsruhe. While the seminars were labeled as “Architecture”, they were actually on learning how to initiate and execute a project; on finding out what you want to do, and finding the best way how to do it. Also, these were very good seminars. Andreas Voigt, Libeskind’s assistant – and, later, guest professor at the HfG – plus several veterans from the seminars have published a book on the Libeskind years. It’s 300 pages in color, showing 40 projects by students, and brilliantly designed by Sahar Aharoni and Adrian Krell. There are a couple of pages on my own project Fear of Machines, and I was even allowed to write one of the forewords. You can buy the book in the ZKM Bookshop.

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Theorie / Praxis

Small graphic I made. The text reads: THEORIE (theory) KUNST (art) / PRAXIS (practice) AUTISMUS (autism).

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“Come As You Are” in Friedrichshafen

Opening of CAYA in the Zeppelin Museum

Our exhibition has traveled to the Zeppelin Museum in Friedrichshafen, where it will run til November 2010! This is the first installment of the museum’s new programme of inviting non-profit art spaces to work within their space – and with their collection, in our case with several prints by Otto Dix and a Gothic Annunciation painting. The Dix pieces show the Veil of Veronica, so the connection was quite obvious. As it is with the Annunciation, if you consider the entire Christian concept of incarnation, and the word becoming flesh.

Due to the generous space, we could even add one more work by Karlsruhe artist Dorcas Müller. And due to the generous museum, we now have a 24-page full color catalogue for which I wrote an introduction and a couple of descriptions.

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