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2 curators 2 shows the same artists

20. March 27. March 2010 [ Version Stokou]

Wednesday-Sunday 14-19 h. Fichte Strasse 2, 10967 Berlin www.grimmuseum.com info@grimmuseum.com all.indd 1

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i 2

a p t c a w b g u

T r s T c a

a o n o b s

m a i i b t n p a d n

 

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Equinox

is a curatorial experiment. 2 curators, 2 shows, the same artists

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 experience nights

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 Berlin www.grimmuseum.com info@grimmuseum.com

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Nord A compass on a turntable 38344336 cm all.indd 4

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SPEEDERBIKE PRIMITIVE 2010

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 burned ground from throwing flames of starting engines. you‘ll find a bag of coal powder with the material.]

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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 different points of standings.

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The Answer, 2009 テ僕, Acryl, Inkjet Print auf Leinwand 90 x 60 cm

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Untitled, 2009, pencil and water colour on paper, 34x61 cm


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.

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Megaloplocamus

Metalaksis

 

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                                   Size  86cm.      Materiel  gypsum  and  wood.  

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16°7’E 69°22’N 29.07.2008 10.00-18.00 UTC+2

pencil on paper, 100 x 70 cm, framed (wood)


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inktjet print, 20x30, wooden list

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eQUINOX sTEREO pROJECT

ERA UOY LENNAHC EHT

right channel

left channel

Layout of the sound installation

Starting from the definition of Equinox: “two observers at the same distance north and south of the equator will experience night of equal lenght”, I thought about a sound installation where different distances can produce different levels 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. 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)

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lennahC ehT erA uoY.

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Amulette, 2009, oil on canvas w/ silver medaillon, 5 x 10 cm

The object is hanged on the wall with a long silver chain

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Adoptez un pigeon 2009.

250 dessins de pigeons sur papier A4 recyclé dans un carton 250 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 futile 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.

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M

C_61.1, 2009 Lacquer on plexiglass / aluminium 33 x 30 x 8 cm

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MISTAKEN VIEW

(print, 60x80, 2010) all.indd 25

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ĂŠquivoque, 2010 horizontal euro coins stack_ coppered steel, golden alloy, nickel, brass. variable dimensions, adjustable positioning between two walls.

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Belle de jour Swarovski’s grip, natural hair - 90cm x 40cm. Display on a 130cm height pedestal, 2010.

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Clone Ranger Print 113x16 cm

Drag King Cowboy Multiples. Clone Ranger can also be extended in wallpaper style over the entire length of a wall.

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Lemniscate of Bernoulli (title) chiselled wall variable 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.

∞

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24 travel adapters ca. 80 cm

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untitled / 2009 / Collage / A4

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Bust of Hugo Erfurt Size: 46 x 34 x 20 cm Material: ingrain wallpaper on plaster Bust to pay homage to the innovator of the famous German „Raufasertapete“ (ingrain wallpaper) (* 13th of February 1834, † 1922)

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Variable 6 Installation Mirror, steel, wall paint Height 185 cm 2008 Cut mirror stripes and steel bars leaned against the wall (invisible fixing) with referring grey paint on wall and ground

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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.      

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Have I been here before? Will I be back?

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Non Nobis-Sweep Stake, 2009 Tusche/Pastell/Aquarell/Papier 30X40cm/7,5X12cm Ink/Pastel/Aquarel/Paper 11.81X15.75in/2.95X4.72 in

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“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  

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Berg, 2009, 94 x 179 cm, Digital C-Print, Diasec to be wall-mounted with two nails or hooks

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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, noninterpreted 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.

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Ohne Titel (Bockobjekt 1) / Untitled (Bockobject 1) 2009 Holz, Tusche, Scharnier, Messingblech, Bambus, Acrylfarbe, Spraylack, Schnur, Metallperle wood, ink, hinge, sheet brass, bamboo, paint, spraypaint, string, metal bead MaĂ&#x;e / dimensions 100 cm x 130 cm x 80cm

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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 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.

Lomnica Peak (SK)

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Jossingfjord (NO)

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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

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Ceslava (echoes) 2009 Lambda print on Aluminum 57 cm x 60 cm

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Sans titre (tente lumineuse) 2009 200 x 200 x 135 cm Fibre 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.

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De-camp, 2010. Pencil on paper. (50x53cm) ”Choose an appropriate hook. Hang the picture on the wall and adjust it so it´s straight.”

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this is dedicated to all these things, that could have been here as well.

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differentiation / dissociation

differentiation / dissociation 2010, each 29,7 x 42 cm inkjet print on photographic paper, aluminium frame instructions: The work consists of two pieces, these should not be hanged side by side. Options are: The same wall with space or other artworks 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 represent the potentialities of the original picture which could not be shown in a single version.

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Enigma 2010 Holz, Glas, Messing, Elektrokabel, Pappe 63 x 32,5 cm

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E la nave va‌ And the ship sails on‌

Photoprint on aluminium, 120x80cm

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Tri adé !

|

2009

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125 cm x 220 cm

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mixed media on paper

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to be fixed on the wall with four big nails

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

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Work: Lovers (2010) 55x55 cm, Mac Powerbook 100, Mac iBook G4, paint, corn syrup, varnish, plexiglass Artist: CĂŠcile B. Evans

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eternal garden Berlin, as a stranger, Nr. 22 Kieler Str. 9.Feb.2007, Type C�print, dimension variable

“eternal garden Berlin, as a stranger” was wandering from one unused space to another during a year �from 14th May 2006 to 15th May 2007� and occupied 31 places near Gartenstraße, Tucholskystraße or Alexanderplatz in Berlin. With my public intervention artwork I tried to explore the boundaries between public and private, between me and the metropolis berlin, but also between real and fake, between art and nature, because the tulips were artificial: Made of plastic. Each time when I made a short intervention I used about 200 to 400 tulips. The whole intervention lasted usually only four hours. When the tulips were planted and the result documented, the artwork was removed again and the deserted space got lifeless again. I revitalized dead places to beautiful colorful places by using artificial dead material.

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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 idÊas that have been allowed to grow freely within the film structure. The moving 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 recorded the sound, manipulated the result and combined it with one scene/one iconic image from the film.

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ARIT (III) 1999-2000 Blei, Silber, Eisen, Pigmente wax/oil/resin/acryl/polyurethane-dispersion Sperrholz; 2-tlg: 170 x 62 / 170 x 112 cm

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Title of the series: Google Baby Photograph no. 22 Dimension: 2,4 x 6,4 cm Installed on Fruit Wood Support

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Herkes Mutlu Olacak - Everybody will become happy Permanent marker on inkjet prints, black adhesive tape 9 Frames Ă 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 eamarket. 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 modiďŹ ed images is intertitled with a quote taken from the song Photographic by Depeche Mode.

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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. Materials Speakers, cotton thread, metal ring. [an amp, mixer and cabling are included in the set-up] Dimensions The 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 Details The 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.

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

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Dream #339

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 Double-sided inkjet prints 16 x 20 cm Piled up, lying on a cube, easy to pick up, take home and start your collection of “Dreams2007”

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En AttEndAnt Godot (2010) 100x70 cm Digital print on Fine Arts paper

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Heap of Broken Images: Pumpkins 2010 Lithography, 57 x 76 cm

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P. M. 1989

M. M. 1939

ENCOUNTER (2009) Lambda prints, each image 30x40cm, framed separately, images hang next to each other with 3 cm distance

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Ohne Titel, 200 x 280 cm, テ僕 auf Leinwand

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Fünf Eindringlinge alte Fotografie, eingriff mit Nadel, umrahmt, 2009 5,7cm × 8,5cm

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„oneframe thriller“ photoprint from videostill mounted on acrylic glas 30 cm x 20 cm

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PERFORMANCE ein bisschen glitzern m端ssen 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

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

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120 cm x 80 cm., Acrylic on wooden panel

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Robin is not gay, he just hang out too much 150 x 123 cm. / Mixed media on canvas 2010


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

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FORT APACHE, 2009, collage on wood, 60 x 60 x 15 cm

MOM

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MOMENT #23, video projection - dimensions variable, 2 min loop, silent

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kubrick pilot, wallpaper/walldrawing, 85 x 90 cm

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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 TagNacht-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.“

I am a mole in the city, Barcelona 2010

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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. Material One 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.

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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.

s

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„Wiegenlied spät, sehr spät“ 2009, Schuhe, Strumpfhosen, Holz, Betttuch, Größe variabel

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Lunge, 2009/  64  x  52  x  11  cm/Porzellan,  Engobe,  Fleisch,  Salz,  Hartfaser  

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J채ger#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.

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

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

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mulTI medIA InSTAllATIon | 4 SlIde projeCTorS In loop | 1 Sound SySTem wITh 4 boxeS

FACTS & FICTIon IS projeCTed onTo The wAllS by Four SlIde projeCTorS uSIng SCrApS oF The SerIeS: „ruTh” And “ASIAn SnACk dInerS” InITIAlly They were grAnTed A ShorT-Term reSIdenCe permIT And evenTuAlly Full CITIzenShIp.

FACTS FICTIon

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 FemININe replACeAbIlITy, Are The FOCuS OF her SelF-pOrTrAyAl, The AbANdONed SNACk STAllS ONly STANd FOr ThemSelveS. ThIS CONTrAST SubmITS pOlArIzed ImAgeS OF AdApTION, ShOwINg A SeemINg TrANSlATAbIlITy OF INdIvIduAl ANd CulTurAl CONTeNTS.

FACTS & FICTION IS ACCOmpANIed by AudIO-FIleS dOCumeNTINg The experIeNCe OF mIgrANTS whO CAme TO wOrk IN germANy. reCOrded by luONg IN 2004, They hAve reCeNTly beeN ArrANged INTO A dyNAmIC ANd ThOughT-prOvOkINg COmpOSITION. 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.

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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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PATROL 2007 Videofilm DV 4:3, 9’20 min., Loop

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   "        #  #   !  "        #     

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

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“S 20

Th Th

Ex

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“String 1: Tod, Abschied, Trauer� 2010, Pinhole photograph, 27 x 40 cm

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

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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 printout paper, Xerox on Hahnem端hle paper (hand-made paper/B端tten), 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, record, framed Xerox on Hahnem端hle paper (hand-made paper/B端tten), LED tablet DVD player, video animation 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.

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Von: spunk seipel <spunkseipel@googlemail.com> Datum: 7. März 2010 23:28:13 MEZ An: 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 Seipel lives in Berlin Exhibitions in 2010: March: Galery serial works, Cape Town April/May: Galerie Weisser Elefant, Berlin August: Kunstverein Kleinzetelvitz and coming more. Spunk Seipel Hobrechtstr. 29 12047 Berlin 2010/3/2 grim projects ‪<projects@grimmuseum.com>‬ http://www.grimmuseum.com/projects/page24/files/equinox-download-application.pdf

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Roman Notes An open-source and slow-travel Guide for Rome. All Books that will be temporarily returned to it’s Author become part of an Exhibition in 2020. Eight chapters, 64 places, 288 pages, 112 empty pages for your own notes, hard cover binding. Ten of the books can be bought during the Exihibition for 20 Euro including slipcase.

This is a book about Rome. It is an attempt to be about reason, not explanation – and an opportunity to share the experience. It is a guide for walking through Rome and finding your own words and images for what you see and feel. Giovanni Battista Cipriani’s Itinerario (1835) guided me one year for my ‘walk’. In the way that his etchings encouraged me to be inspired by the inexhaustible treasures of this city, this book too may be it’s readers companion. Blank pages offer enough space to inscribe your own notes. The book is divided into eight chapters, each of which contain eight places. In between the sketches are my own poems and thoughts, some of them give you my personal view of the sites. For each of the 64 locations you will find a map embedding them into their surroundings. These maps show, like the 1749 Nolli Plan the important floor plans of public inte-

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riors. The geometer Giambattista Nolli was the first to include public outer and interior spaces into one map. The exact coordinate of the meridian and latitude can be used for orientation. As early as 1450 AD, the Renaissance architect Leon Battista Alberti gave the first numeric descriptions of monuments and the walls of Rome in coordinates. In his Descripto Urbis Romae his system worked with concentric circles beginning with the Capitol Square. Innovative satellite technology of today brings the coordinates and the pictures they describe into direct sensory contact. Psychology and the physical existence of places become more and more compatible with digital media. The possibility of a decentralized and place-specific ‘town memory’ is incredibly near. My walk through Rome was an attempt to confront myself in an unprejudiced way with the places and their architecture. If the reader can share this effort, it would be my joy.

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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     all.indd 139

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Die Serie Wenn Deutsche lustig sind – Dokufiction: Das 20. Jahrhundert umfasst die künstlerische Auseinandersetzung mit dem gesamten deutschen 20. Jahrhundert. Durch seine Manipulation von Fotos aus Archiven erforscht der Künstler Präsentationsformen von historischem Dokumentationsmaterial. Beweggrund seiner Recherche ist der Umgang damit in den Medien. So werden im Fernsehen original historische Aufnahmen mit Spielfilmszenen gemischt und der Unterschied ist für den scheinbaren Augenzeugen oft nicht mehr erkennbar. Wird Geschichte aus purer Sensationsgier oder Gedankenlosigkeit gefälscht und nicht um Historie umzuschreiben? So benutzt der Autor in der Serie immer mehrere historische Fotos für eine Arbeit. Montiert zu einer einzigen geschichtlichen Situation, agiert er darin in mehreren Rollen zugleich. Durch das künstlerische Spiel mit Identitäten wird der Betrachter angeregt, sein individuelles soziales Bezugssystem zur Geschichte zu überdenken: Welches wäre dein, welches mein Part gewe- Wenn Deutsche lustig sind – Dokufiction : Eröffnung Palast der Republik, Berlin (Ost), 1976 sen, wenn wir damals gelebt Aus der Serie Wenn Deutsche lustig sind – Dokufiction: Das 20. Jahrhundert Silbergelatine Print auf Baryt, 50x40 cm, gerahmt, 2009 hätten?

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<territory theorist> portrait of a face on an lcd screen. an antique sony cybershot camera has been used to reinterpret a 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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0

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Sonntagskinder „Nur Sonntagskinder hören die versunkenen Glocken“ (de Gruyter Handwörterbuch des deutschen Aberglaubens)

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Diese Arbeit beschäftigt sich mit der Frage, wie man mit der Irrealität kommunizieren kann. Das Wasser wird zum potenziellen Transportmittel dieser Kommunikation.

Installation 2009 ; Holz, Plexiglas, Bronzeglocke, Wasser; 200 x 65 cm

S

C 6 M


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

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Sputnik *1

(Berlin - Salzburg - Kraljevo) photoseries, since 2007 3 parts, digital prints, 20x30cm each

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II, 2008 29,5 x 40 cm C-Print, Diasec, Schattenfuge

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The Boyfriend Project

size: 35 x 35.26 cm projected onto a wall

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Typewriter´s friend 2009 Holz, Metall, Chrom, Lacke 160 x 110 x 74 cm

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You are not to speak Her name, and you are not to acknowledge Her presence, for She is always there but She is unnameable. She has risen from the sea with an elephant of ten tusks and seven heads. She has tamed this beast and calls it Her own. You worship Her for Her victory, and fear Her for Her elephant. To welcome Her is to succumb to Her influence. She will surround you and suffocate you. At night, when you are sleeping, She searches for more. More filth and more evil, too much is never enough. She lives in the shadows of all cowards, liars and cheaters. They foolishly think they have tamed Her, that they have channelled Her energy. They take the elephant for a walk when they need to, when it serves them. When it serves Her.

The Unnameable,â&#x20AC;&#x2122; 24x30inches, inkjet print, 2009.


untitled 2009 110 x 91,5cm mixed media on transparent paper framed

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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: all.indd 158

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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 offer 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 路 2009 路 ink on paper 路 25x25 cm

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2 curators 2 shows the same artists

01. April 09. April 2010 [ Version Leifsdottir]

Wednesday-Sunday 14-19 h. Fichte Strasse 2, 10967 Berlin www.grimmuseum.com info@grimmuseum.com

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EQUINOX  

EQUINOX*20.March - 27. March -version Despina Stokou 01.April - 09.April...

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