Arbeiten, Projekte, Ausstellungen

works, projects, exhibitions

(Auswahl / selection)


›INDEX – ein künstlerisches Archivierungsprojekt‹ (an artistic archiving project) installative work and process-oriented collection and archiving of regional goods of everyday life narrating personal and local stories, cultural peculiarities of that area (Austria, Germany, Switzerland); 4. Triennale zeitgenössischer Kunst / 4. Triennal Of Contemporary Art, Zeppelin Museum Friedrichshafen, Bodensee (2008/2009)

›Rauf, Rüber, Runter, Untendurch‹ exhibition on the topic of mountains showing a video loop documenting the performative intervention ›Bemerkung zu Berg‹ White Space, Zürich (2007)

›Orientierung – Eine temporäre installative Intervention‹ (orientation – a temporary installative intervention) interactive installation for a conference on the humanities creating an orientation system that is eroding while being used; Zeppelin University, Friedrichshafen (2007)

›Family Values / Familienwerte‹ installative interventions in private nyc residences as a situative aesthetic approach on micro-politics in social subsystems at five private residences in New York City, Manhattan (Upper East Side, Chelsea, Midtown, Greenwich Village, Hells Kitchen) as a part of a week-long series of events and meetings referring to the european turn-of-the-century intellectual salon culture; New York City (2006)

›La prosa avorrida de la vida diària‹ (the boring prose of everyday life) installative in-situ exhibition and performative intervention involving several persons working in fields not associated with art to perform tasks applying aesthetic criteria to their everyday work; eacb Barcelona, Spain (2006)

›freundlich behauptet – Gespräche über Kunst und Wirtschaft‹ (friendly remained – conversations about art and economy), curatorial concept and realization with Kunststiftung Baden-Württemberg (Art Foundation Baden-Württemberg) of a series of topic-based discussion forums on the interactions and interdependencies of Art and Economy, the intrinsic involvement of companies in social issues and the possibilities and means of artists working within or towards the realms of companies; Börse Stuttgart (Stuttgart Stock Exchange) (2004)

›MEHR WERT – Künstler, Unternehmer und Wissenschaftler im Dialog‹ (added/more value – artists, entrepreneurs and scientists in dialogue) curatorial concept, realization and moderation of a series of topic-based discussion forums on the interaction of social subsystems and the interaction with art; topics: Corporate Culture – by Art? Consumption and Marketing – Art as a Cultural and Economic Factor? The World of Working on the Change – Soft Factors besides Hard Realities? ICH-AG [ME-Ltd.] and Social Sculpture – the New Social Asset? Art in Companies – Future-Fitness by Art? Art and Economy – a Cultural Partnership?; Badischer Kunstverein (Baden Art Association) (2004)

›Kleiner Symbolschaukasten‹ (small symbol showcase) installative in-situ exhibition in a small shop window in the pedestrian zone showing in an exemplary way the different applications of meanings to objects – the creation of symbols and the attribution of value – based on the context of perception, using museological design elements on money bills and dead housflies as universals, Friedrichshafen (2004)

›Der silberne Schnitt‹ (the silver cut), Exhibition of selected fellows of Kunststiftung Baden-Württemberg (Art Foundation Baden-Württemberg) showing a modern booth commonplace at trade fairs with a book presentation and a discussion area to give the visitor a forum of reflection and exchange creating a meeting place and instigating heated discussions, Württembergischer Kunstverein, Stuttgart (Art Association Württemberg) (2003)

›Gesellschaft für kritische Ästhetik‹ (Society for Critical Aesthetics) co-founding of a research and networking institution on Artistic Research, Critical Aesthetics and Transfer Art. Its idea is to shift the public attention on artistic work from the traditional notion of creating objects (works of art) to the realization that an artist can be a person of know-how in a transdisciplinary and process-oriented/systemic way of perception and action (2003)

›kFP/02 künstlerisches Forschungsprojekt‹ (artistic research project) co-concept and first presentation of an artist research project on the situation and extension of cooperative artistic work in social/political/scientific contexts by carrying out and documenting selected discussions and cross-referencing main statements to relate contexts and reflections/errors to an Associative-Desktop making it a semantic network installation to walk in, Künstlerhaus Dortmund, Kunstfonds NRW (2002)

›Die Verklärung des Gewöhnlichen‹ (the glorification of the commonplace) exhibition of the art and design faculty at Hochschule für Gestaltung, Technik und Wirtschaft Pforzheim (Pforzheim University of Applied Sciences) showing a sold pedestal as a part of the artwork with a glass slide as a contact sheet to document the impacts of the surrounding during the exhibition phase as a reference to the generalized forms of representation, Kunstverein Pforzheim (Art Association Pforzheim) (2002)

›Bemerkung zu Berg/annotation on mountain‹ invitation to a topic-oriented group exhibition, creating a meeting and concert of brass marching bands (from different geographic regions and backgrounds, linked to the term ›mountain‹) in the exhibition space as an interventionistic performance act relativizing Hi- and Low-Culture and commenting on objects as artworks, ›Der Berg‹ Kunstverein Heidelberg (Art Association Heidelberg) (2002)

›Urban Identity/FIL-Projekt‹ invited artist to the Summer Academy 2002 creating a cooperative motivation and participation programme for the city with ironic aspects to the reality of suburban settlements and their social impacts including references to current political topics of that region realizing a. o. a discussion like a regulars‘ table a speakers corner imitation on the local market, Filderstadt (2002)

›Substruktur einer idealtypischen Welt/substructure of an idealized world‹ installative work on the mystification of art objects as religious surrogates and the construction of ideal (self-sufficient) worlds using industrially produced topographic moulds for model railways as modern representations of a hortus conclusus and Arcadia, ›…ganz wie am Busen des Todes‹ Galerie peripherie Tübingen (2001)

›Vorbereitung einer Ausstellung/preparation of an exhibition‹ installative exhibition reflecting the installation process and architecture-dependent decisions in an exhibition space while setting up the presetation using projectors, stop motion film loops and construction site specific materials and tools focusing on the architectural context rather than functionalizing the walls/hull, Galerie peripherie Tübingen (2001)

›Freie Wahlen‹ (free choices) participation as a member of artrelated on a convention of artist groups and institutions presenting the collaborative strategies and interdisciplinary networking of artrelated, Staatliche Kunsthalle Baden-Baden (State Gallery Baden-Baden) (2001)

›projection – location – simulation‹ site specific installation in a public place using projectors and computer generated slides for a projection showing the structure and building area of the site as a three-dimensional stop-motion loop as part of the ongoing work ›recreation‹ Marbach (2000)

›framing‹ Participation on the actionistic/performace-oriented meeting ›minutes only‹ of artists, creating a short video using textures of the site and confronting these with ornamentally crafted wood-frames focusing the location and its ambience, Karlsruhe (2000)

›Die Akademie ist keine Akademie‹ (the academy is not an academy) curatorial concept and co-organising a colloquium at Künstlerhaus Stuttgart focusing on the different positions on and the current situation of artists in society compared to the traditional ways of study and education at art academies and creation of a documentational (video/audio) publication compiling and associating the main aspects (1999)

›noodrem‹ creation and host of a sequel that focuses on experiments of nonvisual distributive media in Fine Art at Freies Radio für Stuttgart (independent radio station stuttgart) the sequel dealt with the border and gap in the notion between visual and auditive as well as Hi-/Low-culture by improvising and mixing (1997-1999)

›extreme all fantasies exploited‹ algorhythm-based image search and manipulation using a simple method to scan the internet for pictures and remove all colors related to the bare human body leaving an abstract pattern painting of situations shifting the focus of attention to subjective interpretations of situations (1998)

›Speed bumps‹ functional installative work for exhibitions dealing with the speed (and therefore quality of awareness) and the routes visitors take through an exhibition space by installing obstacles to guide and irritate visitors (1997, 1998, 1999)

›assimilate‹ creation and Releasing an audio CD with music tracks arranged to assimilate to different musical styles of electronic music using a minimum set of sound samples. The intention was not primarily to compose complete songs but to assemble a stereotype of a style, MasterBootRecords (1997)

›Series 1, Series 2, Series 3‹ definition and execution of rule-based photography as a cooperative experimental work. The rules include the reflection of the perspective of the author, the effect of lighting and the instant of shooting the image on the apparition of everyday situations and objects examining the process and the author in generating the artwork (since 1997)

›10 Versuche über die Tautologie‹ (ten essays on tautology) text and sound samples dealing with the different notions and levels of tautology; Freies Radio für Stuttgart (independent radio station stuttgart) (1997)

›alea alii‹ permanent attitude concerning the relevance of marketing strategies in the art market based on persons and names by using an abberant spelling chosen by chance as a simple means of creating irritation (since 1997)

›[sic!]‹ co-founding of a publishing agency as continuing art project, circulating publications of artists and setting up a semantic contextual collective research process archive using the professional background of a company as a platform and amplifier for works at the peripheries of the common perception of art (1996)

›iconic sketches‹ continuing work on an interventionistic way of street painting based on the marks used for planning construction sites in various cities; on several invitations to art events on situative, improvised art (1995-1999)

›DATA*CODE*MUSIC‹ releasing an audio CD created 1987 using iterative and self-referencing programmed algorithms to create music/sound sequences, MasterBootRecords (1995)

›sequential iteration‹ continuing work on the creation of objects in an interactive, reentrant process by depicting the means and situation of the creation process itself and scrutinizing the shifting of attention by using painting as a classic means of expression but focusing on the painting process rather than classical technical mastery and examining the shifting of awareness between the objects and their representations (1992-1995)

diverse exhibitions, objects, installations and interventionistic works, ›object vs. objectives‹ ›see numbered windows‹ ›black boxes‹ ›city walls‹ ›extreme – all fantasies exploited‹ ›telephone booth camouflage‹ ›recreation‹ ›Strasbourg illumination‹ ›Folie, Raum/foil, space‹ ›Teppich Pflanze Stuhl‹ ›dual use‹ ›to benches‹ ›Klavier & Kaviar‹ ›Color 400%‹ ›Housework‹ ›double feature‹ ›hommage to where it is‹ ›Halo 60×90‹; ›scenes behind the scenes‹ ›hacking an IQ test‹ ›white cube‹ ›representative foils/repräsentative Folien‹ ›Deutscher Standard/german standart‹ ›objetimage‹ ›exhibited light (recreation)‹ ›exhibited‹ ›rental video trailer mess-up (housework)‹ ›gemütlich/chimney fire‹ ›subway station remix‹ ›new political art: manipulate, investigate, interrelate‹ ›music and the visual‹ (1994-2000)