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 info@grimmuseum.com

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 info@grimmuseum.com

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 info@grimmuseum.com

all.indd 3 22.03.2010 16:28:47 Uhr

NordA compass on a turntable38344336 cm

all.indd 4 22.03.2010 16:28:48 Uhr

NordA compass on a turntable38344336 cm

all.indd 5 22.03.2010 16:28:48 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

The Answer, 2009

Öl, Acryl, Inkjet Print auf Leinwand90 x 60 cm

all.indd 8 22.03.2010 16:28:50 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

                                                                                 Megaloplocamus  Metalaksis  

 

                                       Size  86cm.      Materiel  gypsum  and  wood.  

all.indd 11 22.03.2010 16:28:54 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

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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

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all.indd 13 22.03.2010 16:28:58 Uhr

all.indd 14 22.03.2010 16:28:59 Uhr

all.indd 15 22.03.2010 16:29:00 Uhr

all.indd 16 22.03.2010 16:29:02 Uhr

all.indd 17 22.03.2010 16:29:03 Uhr

inktjet print, 20x30, wooden list

all.indd 18 22.03.2010 16:29:04 Uhr

all.indd 19 22.03.2010 16:29:04 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

all.indd 22 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

MISTAKEN VIEW

(print, 60x80, 2010)

all.indd 25 22.03.2010 16:29:12 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

all.indd 30 22.03.2010 16:29:21 Uhr

all.indd 31 22.03.2010 16:29:21 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

all.indd 34 22.03.2010 16:29:22 Uhr

24 travel adapters

ca. 80 cm

all.indd 35 22.03.2010 16:29:23 Uhr

untitled / 2009 / Collage / A4

all.indd 36 22.03.2010 16:29:24 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

all.indd 39 22.03.2010 16:29:26 Uhr

all.indd 40 22.03.2010 16:29:27 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

all.indd 42 22.03.2010 16:29:29 Uhr

all.indd 43 22.03.2010 16:29:30 Uhr

Have I been here before?

Will I be back?

all.indd 44 22.03.2010 16:29:30 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

all.indd 48 22.03.2010 16:29:35 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

Ceslava (echoes)2009Lambda print on Aluminum57 cm x 60 cm

all.indd 54 22.03.2010 16:29:44 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

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edia

on p

aper | to

be fi

xed o

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all w

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ails

all.indd 63 22.03.2010 16:30:02 Uhr

“Alchimia” 2009, Oil, cotton on canvas, 100x107cm

all.indd 64 22.03.2010 16:30:05 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

all.indd 71 22.03.2010 16:30:17 Uhr

all.indd 72 22.03.2010 16:30:19 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

all.indd 74 22.03.2010 16:30:22 Uhr

all.indd 75 22.03.2010 16:30:23 Uhr

all.indd 76 22.03.2010 16:30:24 Uhr

all.indd 77 22.03.2010 16:30:26 Uhr

   

   

     

all.indd 78 22.03.2010 16:30:28 Uhr

1977, C-Print, 38×25 cm, behind glass (2010)

all.indd 79 22.03.2010 16:30:29 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

all.indd 82 22.03.2010 16:30:33 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

all.indd 84 22.03.2010 16:30:36 Uhr

Ohne Titel, 200 x 280 cm, Öl auf Leinwand

all.indd 85 22.03.2010 16:30:37 Uhr

all.indd 86 22.03.2010 16:30:40 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

all.indd 90 22.03.2010 16:30:44 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

lang lang 3 Bronze patiniert 2003 5/6 24cm x 8cm x 8cm

all.indd 92 22.03.2010 16:30:48 Uhr

all.indd 93 22.03.2010 16:30:48 Uhr

120 cm x 80 cm

., Acrylic on w

ooden panel

all.indd 94 22.03.2010 16:30:48 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

all.indd 96 22.03.2010 16:30:50 Uhr

all.indd 97 22.03.2010 16:30:51 Uhr

all.indd 98 22.03.2010 16:30:52 Uhr

Hobby, 2009 26x32cm, c-print, framed, behind glass

all.indd 99 22.03.2010 16:30:53 Uhr

all.indd 100 22.03.2010 16:30:57 Uhr

all.indd 101 22.03.2010 16:30:58 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

all.indd 104 22.03.2010 16:31:04 Uhr

all.indd 105 22.03.2010 16:31:04 Uhr

kubrick pilot, wallpaper/walldrawing, 85 x 90 cm

all.indd 106 22.03.2010 16:31:07 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

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20

09

, S

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,

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all.indd 110 22.03.2010 16:31:11 Uhr

„Wie

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20

09

, S

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all.indd 111 22.03.2010 16:31:12 Uhr

all.indd 112 22.03.2010 16:31:14 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

all.indd 115 22.03.2010 16:31:43 Uhr

all.indd 116 22.03.2010 16:31:45 Uhr

Bolero 2008 C-Print, Diasec gerahmt / Schattenfuge 18 cm x 20 cm

all.indd 117 22.03.2010 16:31:48 Uhr

no one after midnight, lacquer paint on canvas, 80x38x24 cm.

all.indd 118 22.03.2010 16:32:08 Uhr

no one after midnight, lacquer paint on canvas, 80x38x24 cm.

all.indd 119 22.03.2010 16:32:10 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

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! o.T.! Acryl, Metall, Keilrahmen, Stickgarn! 7-tlg; je 13 x 18 cm

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Ohne Title, 40-40 cm, Acryl auf Leinwand, 2009

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Ohne Title, 40-40 cm, Acryl auf Leinwand, 2009

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PATROL2007VideofilmDV 4:3, 9’20 min., Loop

all.indd 124 22.03.2010 16:32:29 Uhr

all.indd 125 22.03.2010 16:35:13 Uhr

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Untitled, Giclée-Print, 40×50 cm, behind glass (2009)

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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

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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

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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 <spunkseipel@googlemail.com>Datum: 7. März 2010 23:28:13 MEZAn: grim projects <projects@grimmuseum.com>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 <projects@grimmuseum.com>http://www.grimmuseum.com/projects/page24/files/equinox-download-application.pdf

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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.

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Roots, 175x70x60cm, fabric, wool, wax, shoes, wood, beads, lace

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310 x 190 cm oil painting on canvas

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Searching  III  120  x  80  cm  oil  on  canvas  

 

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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

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<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

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Settlement, 21 x 29 cm, Pencil on paper, 2010

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Settlement, 21 x 29 cm, Pencil on paper, 2010

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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

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Spectre IV C-Type Print 60x50 cm Mounted on MDF

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Sputnik *1(Berlin - Salzburg - Kraljevo)

photoseries, since 20073 parts, digital prints, 20x30cm each

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II, 200829,5 x 40 cm C-Print, Diasec, Schattenfuge

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The Boyfriend Project

size: 35 x 35.26 cmprojected onto a wall

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Typewriter´s friend

2009Holz, Metall, Chrom, Lacke160 x 110 x 74 cm

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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

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when

it

serv

es t

hem

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hen

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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

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Untitled, 70x110cm, Ink on Paper, 2010 No specific installation details

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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.

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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.

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Woman  with  hairy  legs    2009  Oil  on  linen  210x190cm  

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Zoom · 2009 · ink on paper · 25x25 cm

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all.indd 164 22.03.2010 16:36:26 Uhr

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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 info@grimmuseum.com

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