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Dead Darlings

Anonymous Art Auction

Saturday, 19th December 2009 Mediamatic on location: Mass, Kerkstraat 58-60, Amsterdam

Edition IV / 2009

Selected Participating Artists (in alphabetical order)

Adam Etmanski Amy Wong Analeen Louwes André Van Bergen Anika Schwarzlose Anne De Vries Anuschka Blommers & Niels Schumm Bonno Van Doorn Brian D Mckenna Carolin Leszczinski Carolin Reichert Cécile Noguès Charlott Markus Dorinde De Tempe Elsa-Louise Manceaux Eva-Fiore Kovacovsky Federico Campanale Hanna Mattes Idan Hayosh Jaap Scheeren James Beckett Johannes Schwartz Joseph Marzolla Kathrin Klingner Kato Tan Krista Van Der Niet Marc Schoneveld Marianne Vierø Marnix Goossens Matthias Tharang Melanie Bonajo

Mike Ottink Miklos Gaál Mu Xue Nadine Hottenrott Nathalie Bruys Nikos Doulos Olivier Genoud Pantelis Makkas Paris Tselios Paul Kooiker Paulien Oltheten Pindar Qiu Yang Rebecca Sakoun Risk Hazekamp Roberto Voorbij Ruth Van Beek Sabina Van Der Linden Sara Van Der Heide Semâ Bekirovic Simon Wald-Lasowski Tania Theodorou Thomas Monsens Tunc Topcuoglu Tzvetana Tchakarova Tzvika Gutter Vela Arbutina Vincent Zedelius Voin De Voin Yael Davids Yota Ioannidou

Dead Darlings IV Auction Programme

The following Publication serves as an auction programme and a works archive with page numbers corresponding to lot numbers Artworks on auction are shown in black whereas the source works are shown in red

Amsterdam 2009



Leonardo da Vinci Mona Lisa

Mona Lisa Smiles Black ink on paper, 30x40 cm 2009 — ₏ 15,06 the year that Mona Lisa was finished



- Die, he said to her. She believed him. She took the rope from the upper shelf where she normally hides her sex toys. - This is for you Gerhard, she mumbled and she stepped onto the old chair. Gerhard and Marlene are still together; me, I am just standing here in front of you.

14.jpg Photoprint, b&w, framed, 50x70 cm — ₏ 30

Gerhard Richter Dead 1 (Tote 1), 1988

Mercury and Hermes C-Print on aluminium, 30x40 cm 2004/2005 — € 13,99 I just appreciated the work of Johannes Schwartz a lot. It seems that J.S.’s images remind me of a bloody joke and the fact that photography is still not dead.


Johannes Schwarts Untitled, 2003/2004


Sun With Negative Projection Inkjet print, 29x43 cm 2008 — €5

The work Tools is based on the intention to invent Photoshop tools for the world outside the screen. I created instruments which would allow me to change things in my surrounding according to my imagination. The 10 photographs show analogue instruments which alter the perception of reality right in front of one’s eyes. They are suggesting the possibility to produce hairline cracks in the sky or sunsets on the streets’ asphalt. They are enabling the user to remove objects from the visual field or to separate individuals from a crowd. The tools are designed to be either hand-held or mounted on tripods. The series is subdivided into 3 different categories of tools: one which deals with optical effects – like blurring or blind spots; a second category which modifies sunlight and its perception, and a third one which alters the motifs of photographs. After I finished the series a friend pointed out that it has a great resemblance with the work of Alexander Calder.

Alexander Calder Totem

Chair Circa A4 2009 — € 10

Joseph Kostuth One and Three Chairs, 1965


Return of the Jedi Colour photo print, 192x83 cm 2009 — € 151.51


This work represents one step in a series of cinematic structural analyses studies centering around George Lucas’s original STARWAR trilogy. Each frame is presented chronologically from left to right, top to bottom in such a way as to reproduce the film’s aspect-ratio, thus allowing the entire film to be seen and studied as a single image.

Dennis Neuschaefer-Rube Stilled Films, 2007/2008

Becoming quite pleased with the results of this particular experiment, I became rather excited about showing it in the context of my approaching Structure of an Epic installation. A few weeks after making an initial print of the image, I discovered in Berlin, to my chagrin, an art book which included the work of one Dennis Neuschaefer-Rube who had applied an almost identical process to the films of Stanley Kubrick.

Inflight Beverage Video loop 19 sec, DV-PAL 4:3 720x576 px 2009 — € 10

It was there in the coffee cup: shaking, shaping, coming into being.

7 Still from the film “Jurassic Park” Directed by Steven Spielberg, 1993


Tank Sérigraphie 2009 — € 50

Ivan Velasco Jr. Bono, 2008

Natasha on the Bed B&W ink-jet print, 24x34 cm in a 30x40 black frame with white Passe-partout 2003 — € 15 My accidental Helmut Newton occured at a time when I saw myself more like a Nan Goldin, snapping my “edgy” life as it would unfold into the night and the unexpected… But this photo is a Newton for these reasons: The legs, the shoes, the hat, and the hotel room… If one looks closely, one will see more of Nan in fact,- the snapshot quality, the wasted look, the personal relationship between model and photographer.


But it’s a Newton at first sight, and indeed perhaps the only image I ever made that came even close.

Helmut Newton Private Property, 1992

From the moment I saw this image coming to life in my dark room it touched me in a special way. It brought back memories of long forgotten photographs, - images I have seen many times but which have no direct connection with my own body of work. I have published this image once, but never exhibited it; somehow it feels not really mine. When I read your call for submissions I understood there is a word for this: a dead darling… This image recollects many old photographs, from the first ghost capture pictures to the experiments of Muybridge. But most of all it reminds me of a crossing between Etienne- Jules Marey and Julius Gross (the “house” photographer of the Wandervogel movement in Germany in the 1920’s

10 Wandervogel Analog black & white photograph, circa 40x30 cm 2008 — € 40

Julius Groß Gruppe von Wandervoegeln am Ludwigstein Hafen, 1921

Peter Fischli and David Weiss Airports (Tokio), 1988/1997


Airport New York 45x60 cm 2008 — € 35 I always take pictures when I go the airfield.

12 Untitled B&W Baryt print, 20x20 cm 2007 — € 55 Gracefully standing guard over a constantly evolving landscape. This piece of architecture seems immortal and hopefully it will be, in the sky above Amsterdam.

Wim Wenders Film still from “Der Himmel über Berlin” (Wings of Desire), 1987

Richard Prince Untitled (Richard Prince and Cindy Sherman), 1980

Contrary to the last DD, this work is a typical artwork. The work consists of an assemblage of two found pictures of the artist’s mother (found in the family archive of the artist), presented side by side in an accidental matching, - as well as a recent re-staged picture.


The final outlook is that of a passepartout, reminding one of those common family frames, easily associated with home. This work resembles the work of Richard Prince.

Dead Darling Indeed Inkjet print, 30x24 cm 2009 — € 14

Hans Richter Rhythmus 21, 1921


Fragments DVD, 4 min. video piece 2008 — € 30 Analogue reproduction of the 1920’s moving light experiment FRAGMENTS by Hans Richter.

15 Grapefruit Photo, 20x30 cm Circa 2000/2001 — 0,25 cents Very very old pic, from the 2nd year in the Rietveld. I must have seen the pic of Elspeth Diederix; she was a huge influence at the time, but I don’t really remember -honestly.

Elspeth Diederix California, 2001

I thought I didn’t have anything for you guys this time round. But then << whamo >> : just over a week ago (not gonna cop to being a coy copycat) I was flipping through this great book of early William Wegman photographs (yes, the same guy who makes those hopelessly banal dog photos) and I saw the same pose and gesture in a work of his from 1971 entitled “To see if he was awake”. He “blindsighted” me by 28 years and it took 10 more to find it out! So, the differences: color vs. B&W, theatrical spotlight vs. even lighting, not using myself as the model vs. he’s in his image, a solo figure represented instead of an interaction between two people, no blanket vs. blanket, camera position, etc. But the basic similarity is striking, a depiction of this absurd action -- sleeping while standing. Back in the day, I myself was known on occasion to nod off in said vertical position, but these days I strongly prefer the horizontal variation, zzzzzzzz.


Sleeping Standing from the series “Games People Play”

C-print, 48.9x32.7 cm together with a digital print of Wegman’s image scanned from book + printed 19x18 cm on an A4

William Wegman To see if he was awake, he had an assistant

1999 — € 15

Marcel Duchamp Fountain, 1917

Yes we can / R. Mutt Ready made, toiletpaper, hanger, steel, part of tree 1992 — € 1,99


My photo is called ‘Zelfportret Met Veer’ (2008) and it is very strongly inspired by a specific work of Bruce Nauman. Bruce Nauman made a photograph in 1967, called ‘Selfportrait as a Fountain’. Although I am not doing exactly the same thing as Bruce Nauman ( he is spewing water out of his mouth, and I am blowing a feather from my mouth up in the air), there are some very strong resemblances between the 2 photo’s, I think. What I liked about Nauman’s photo was the directness and strength of it, the way his body lightens up in the dark space, how he portrays himself as an object, referring to the title (as a fountain)… It made me laugh; I think it’s humorous. This photo always stayed in the back of my mind after discovering it 10 years ago.

18 Zelfportret Met Veer Inktjet-print, 50x75 cm 2008 — € 50

Bruce Nauman Self-Portrait as a Fountain, 1966–67

Andreas Gursky Salerno, 1990

The Gursky Days C-Print, 23x23 cm 2001 — € 19,95


In the Gursky-days, I was totally excited about German Photography and especially about Gursky’s photos. Whenever there was an opportunity to take an overview from a high standpoint, I would take it with my imaginary 4x5, which was in real life a 6x6, and dream about really huge prints. I met him very briefly in 2005, but resisted the urge to jump up and down, shouting: “Andreas, Andreas! You are the reason I went to Art school!” Instead I just said “Guten Tag.”

20 Sketch for a Spread in a Collaboration Project with the Girls, if They are Into It Pencil on paper, digital print, 30x20.5 cm 2010 I hope, because itâ&#x20AC;&#x2122;s a sketch

â&#x20AC;&#x201D; 25 cents

Torben Stig Larsen Panamarenco, 2009

Luc Tuymans Schwarzheide, 1986

21 No Title Polaroid, 8x8 cm Circa 2000 — €5

Anselm Kiefer Über Räume und Völker

Folded pages with drawings on an existing book published as the documentation of a congress in USSR in 1986. I think this work is really an inadvertent copy of Anselm Kiefer’s “Über Räume und Völker” which is also a book published with Kiefer’s drawings on an existing book dealing with geography and politics.


The Conference Drawing, pencil, marker, circa A4 2002 — € 25

Not Katrien C-print, circa 10x15 / 13x18 in passe-partout and frame 2006/2007 — € 35

Charlotte Dumas Untitled (Taza), 2006

I’ve photographed vultures for more than 2 years. I was fascinated by people’s negative pre-perceptions, perceptions which in my eyes made it hard for them to really see then as they really are. So I started to picture them as individuals by making portraits. But in the course of time I focused more and more on all the different shapes they could take, shapes which sometimes make it hard to believe you are watching a living creature instead of a bunch of feathers or a dead animal. Meanwhile I learned about their differences and characters and felt really attached to them. The one I photographed most often was named Katrien. She was the oldest of the group and a little bit grumpy. She often isolated herself from the others which made her an ideal model. The vulture on the photograph must be one of the younger ones as he is more colorful than Katrien is. At the start of the project my work sometimes resembled Charlotte Dumas’ photographs, with the same kind of (semi)intimacy and monumental light. I think it was not by coincidence because I admired her work from the moment I saw it in the Rijksacademie. There is this special connection between her subject and herself which you can read in the picture and which I also tried to put in my work.


My Dead Viero Scan of selling dots, 13x18 cm, white frame 2008 — €5


Marianne Vierø Color Coding Dots, 2008

In my endexam year at the Rietveld Academie I was working with these dots that are often used at galleries when an artwork is sold. When I showed one of the compositions to Constant Dullaart he told me a girl on the Rijksacademie was working with these dots as well. This girl was Marianne VierØ. Straight away I didn’t feel like working with the dots anymore. Constant said I should just go on with it and that the endexam show of the Rietveld would take place before the open days of the Rijksacademie and that I would be the first one. But I never did. The Dead Darlings auction would be a great opportunity to bring these dots back to life again.

Phyllis Galembo Baby Dance of Etikpe, 2004

Selfportrait Print, 30x40 cm 2009 — € 30


“Selfportrait 1, Amsterdam, 2009“ is part of the photographic- series “Folklore”. By reproducing certain pieces of clothing, costumes or accessories, “Folklore” is an investigation of cultural rituals, customs, and folkloristic aspects in ethnology. To have a better look at the use of these items, they are often staged in photographs.


The Observer Photograph 80x60 cm, Lambda RA4 m2, 2mm dibond 2008 — € 120

Jeff Wall Milk, 1984

The photo ‘The Observer’ was taken in Coney Island in NY, once the haven for working class people. The place was described as a “poor man’s paradise” – “a place where everyone had someone and where there were no strangers”. Over time, much of Coney Island’s original charm has been replaced with housing tracts and commercial dealings. In this context the man in ‘The Observer’ seems a socially charged subject, who silently witnesses the disappearance of the good old times. ‘The Observer’, just like the photograph ‘Milk’ (1984) by Jeff Wall, is based on an everyday situation and focuses attention on a ‘micro-gesture’ (so typical for the Jeff Wall style):a gesture, “that seems automatic or compulsive, and which is at the same time emblematic of tensions within society.”

David Hockney Place Furstenberg, August 7,8,9, 1985

Fare Well Inkjet print, 93x43 cm, Hahnemühler photorag satin 2003 — € 50


David Hockney was the first contemporary artist I encountered deep down in the province, that used photography as a medium. This work is grafted on that deeply impressive experience.

Sham & Company Balsa and acrylic, 21x29.7x9.5 cm 2009 â&#x20AC;&#x201D; â&#x201A;Ź 40

28 This piece is a sham. The everyday objects of my studio are reproduced, made of wood and rough mock-painted. After realizing them I noticed that I copied a piece of Fischli & Weiss, Untitled (Tate) 1992-2000. Fischli & Weiss reproduce objects that are in their studio. The difference is that the objects of Fischli & Weiss are made by molding, while my items are manufactured by cutting and assembly.

Peter Fischli & David Weiss Untitled (Tate) 1992-2000

Papers & Tubelight C-print in black frame, 40x60 cm 2008 â&#x20AC;&#x201D; â&#x201A;Ź 40 This is one of the photograph fragments made while sketching up an installation work. About the copy and the original: Though it is not meant to be a resemblance while making it, I later I discovered other artists were doing similar works both in practice and focus: for example Amsterdam artist Peggy Franck.

29 Peggy Franck Preaching nicknames, 2008

Smooth Operator Karaoke Cover Sound recording 2009 — € 20 I make nerdy recordings like this for fun when I don’t have access to painting supplies, -my own private downtime. In this case, I had just arrived in Amsterdam and was over stimulated by switching cities, then lucky enough to stay at a lovely house to myself. I couldn’t help it, to have an empty space where no one could hear me and I could get wasted on my own and sing my heart out! My goal was to see if I could listen to the song on headphones and do all the parts including the instruments by mouth, including

that damned hard sexy sax. Then after flying home last week, I checked to see whether I had missed seeing Candice Breitz at the Powerplant, which I had by one day. I had the chance to see her work at the Venice Biennale in 2005 but I missed that too, so I’d never experienced anything of her work. Realizing I would not see the show, I know that in 2009 You tube is so democratic that people even post art installations on it, so I typed in her name, et voila! My inadvertent copy.


Candice Breitz Queen, 2005/2006

Michelangelo The Creation of Adam, circa 1511

Oh! Oh! Oh! Mixed media, 40x50 cm 2009 — € 11


Santa Claus gives us gifts, always. This time I wanted to give HIM a gift, literally, with my hands, in my own world. In the end I realized it looked too much like the famous Michelangelo fresco ‘The Origin of Man’, the one where God touches Adam's finger. I guess my starting point was a bit naive though...


Hello How Are You ? Digital print, 25x20 cm 2007 — € 26,50

Olaf Breuning The gardeners, 2008

Untitled C-Print on alumnium, 53x40 cm â&#x20AC;&#x201D; â&#x201A;Ź1 I like everything that Frank Thiel made in the last decades.


Frank Thiel Stadt 13/06, 2007

In 1912, Marcel Duchamp’s created “Nu descendant un escalier no. 2”, both too futuristic to join the cubists and too cubistic to attend the futuristic movement. 96 years later, the unsuspecting Matthias Tharang executed the attempt to avoid the ephemerality of his video work “9 flags raised on mountains” by printing a video still. The New York Times wrote 1913 the appearance of [Duchamp’s] painting corresponds to “an explosion in a shingle factory”. After 95 years, the comments on my print were unsurprisingly comparable…


9 Flags Raised on Mountain 128x100 cm Inkjet on Hahnemühle 2008 — € 19,12

Marcel Duchamp Nude Descending a Staircase (No. 2), 1912

Untitled Two sheets, 70x100 cm each 2009 â&#x20AC;&#x201D; â&#x201A;Ź 10 final sale price money goes to charity

This piece is not for sale. On this occasion in particular, the rights to destroy the diptych will be sold, - an act which must happen directly after payment. If sold, the purchaser may keep the remains. All proceeds will go to the Dyslexia Institute Bursary Fund of the Uk. I asked an artist in a village in Germany if I could make a silkscreen of an etching she had made some years prior. She is a middle aged woman who had moved to the village for its romantic history of art. The village had a strong role in the development of German Jugendstil, which centred around a nature obsessed artist by the name of Heinrich Voegler. His contribution, besides the actual work, was the organisation of

the artists into a colony, with a strong socialist base. He was later to move to Russia, after which he moved to Kyrgyzstan, where he was later to die in abject poverty. The translation I made of the artistâ&#x20AC;&#x2122;s piece, took the history of the village into account. Her original etching was mirrored, and reduced to two tones of red. After having agreed to the piece being made, I printed the works, after which she, by phone, changed her mind and refused to come and meet me. In total we met just once. She was afraid I was selling her work for my own benefit, a commercial process in which she would lose control. She did not see the point of translation, and simply saw it as a copy.



Portraitscape Video, 4 min 2009 — €5 I actually picked up this piece cause it somehow makes a comment about the Dead Darlings, the significance of the prototype bla bla etc…

Rene Magritte Human Condition, 1935

Antoine Dagata Arles, 2009

Serata #3 Photo, 15x22 cm 2007 â&#x20AC;&#x201D; â&#x201A;Ź 17 On a crazy evening, I decided to shoot hard stuff... By waking up, I realized that my interest for photographers like Nan Goldin or Antoine D'Agata was certainly influential in that. Anyway, I keep on working!


Viktor & Rolf Print on Photo Rag Baryta, 30x40 cm print on A2 paper 2009 — €5 We tried to copy the pictures done of Viktor&Rolf 12 years ago. New vintage imagery! …soooooooo 1997!…


Anuschka Blommers / Niels Schumm Viktor&Rolf, 1997

Bas Jan Ader Primary Time, DVD still, 1974

Cutting Photographic Print on Gloss Paper, 20x25 cm 1997 — € 9.99


I was a big fan of Bas Jan Ader’s work during my college days…

In 1996 I filmed a performance as a homage to his piece ‘Primary Time’ (1974) which I initially titled ‘The summary of everything’ a work which I never showed. I made a series of video stills from the work in 1997 re-titled ‘cutting’

Eerlijk is Vals Fuji Digital professional pearl paper, aluminium, acryl, 21x29.7 cm 2001 — € 67,75

40 Dit werk is gemaakt als illustratie voor het boekomslag van de roman “eerlijk is vals” door Hans Vervoort, uitgeverij Nijgh en van Ditmar. De roman handelt over het bedrog en de geheimen waar de hoofdpersoon mee geconfronteerd word in zowel heden als verleden. geheimen met een semi incestueus karakter. bedrog gepleegd op het bedrijf waar de hoofdpersoon werkzaam is en in zijn verleden als kind.

Paul Outerbridge Jr. Ide collar, 1922

41 Three Centimetre Between Pleasure or Shame Drawing, indian ink and acrylic on paper, 94x130 cm 2004 — € 100

It’s a painting on paper, part of a series called FreudianTechnology.

Marlene Dumas Miss Pompadour, 1999

Debatable Portrait 8x10 inches, silver gelatin handprint on baryte paper 2004 â&#x20AC;&#x201D; â&#x201A;Ź 75 As a reference I send you three examples from futurism and surrealism protagonists Bragaglia and Man Ray. There is not so much a single example to which my submission refers, but rather a common knowledge about the combination of specific techniques and content: photographing the invisible, crazed individuals, torn and desperate, to depict the soul and its tearing dynamics.


We know the visual language and therefore my DD is somewhat a fragment of common knowledge and association.

Anton Giulio Bragaglia Polyphisiognomical portrait, 1912

Man Ray No Title (2 Profiles Solarized), 1935

Bob Ross Bright Autumn Trees


Parrot Talk C-print, 31x40 cm 2003 — € 100

YouTube, video sharing website, 2005-present


Een Lepeltje Bruine Suiker DVD, 3’21 2009 — € 20

Soup 24x30 cm, B&W Baryt paper 2008 — € 40 This picture reminds one of Weegee's photos, the ones he took in NY at Sammy's in the bowery. The girl in my photo never liked the shot. So it just kind of disappeared into my B&W box.


Weegee After The Opera, Blond woman visits Sammy’s Night Club, in the Bowery district of New York, still wearing her evening dress from the opera. 31 Dec 1943

Hans Bellmer The Doll, 1935


Ball A4, video still 2003 — € 10

Der schön gedeckte Tisch Video, duration: 3 min 45 sec looped 2007 — €4

‘Der schàn gedeckte Tisch’ is originally a German b/w film from, I think, the late 50’s or early 60’s offering housewives of its time an insight into the fine art of setting a table according to the occasion. The remake I attempted to do was meant as a tribute to the beautiful camera work and amazing light of the original. However, after shooting I realized that most shots were unusable (I somehow didn’t manage to produce beautiful camera work and amazing light). And so, after editing together the bits and pieces that were still of any use, I ended up with a clip more reminiscent of Qiu Yang’s ‘Untitled’ series of hands, than of German housewife instruction cinema. Some day I’d still like to celebrate the original with some smooth operating dolly work…


Qiu Yang Untitled, 2007

Marcus Harvey Morning/Tabletop, 2001

Vanitas 01:50 AM UltraChrome Print on aluminium, 3D (computer generated), 53x90 cm 2005 3/10 — € 100

48 The work ‘Vanitas 01:50 AM’ Was generated completely with 3D software. It is a modern interpretation of the classic Vanitas stillife. Here however It appears as a denial of the proclaimed Christian moral,-a moral that suggests to the viewer not to become attached to earthly possessions and to realise that even a weapon cannot protect you from death. Prominent on this UltraChrome Print is a Magnum 357 which, on the internet is recommended as the perfect protector of property. A comparable contradiction

lies in the title. The traditional Vanitas referred to the ephemerality of existence and reminded the viewer of the hereafter. ‘Vanitas 01:50 AM’ more seems to underscore the here and now: ‘Vanitas’ as place and time. 01:50 AM is thereby the commercial time which watches, as if the time has been stopped there, in advertisements in general indicate. Copy vs. Original: Obvious are the similarities between ‘Vanitas 01:50 AM’ and the work ‘Morning/Tabletop’ by Marcus Harvey. Especially the contrast between the homely

atmosphere and the explicit objects fascinated me. Eventually in my variation I HAVE chosen to make it into a darker version literally and figuratively whereby some parts are even more explicit and others more suggestive, leaving more up to the imagination then the original. The shapes of the computer generated work are only being defined by the strongest reflecting light. The print which mainly seems built up out of black and white, has a blue radiance that coincides with the matted glittering of the UltraChrome Print.

49 Untitled, 2008 13x18 cm — € 29 I saw the image was the balancing series from Fischli &Weiss…

Peter Fischli and David Weiss Outlaws from Quiet Afternoon, 1984

In February 2007 I was asked to work on a series of photos for an article regarding Tarantino’s new movie “Death Proof”. At that time I had no clear view of what the motion picture was about apart from the basic knowledge that it was a cult horror movie which involved cars and chicks. Trying to avoid Tarantino’s often splatter references I began to envision a film strip inspired by Lynch’s “Mulholland Drive” poster and Cronenberg’s “Crash” movie. I photographed an old car crash victim in her car and made the composition. The outcome came out too literal but I still decided to send it.


After a week I received a mail from the writer of the article informing me that the magazine had rejected my composition. It was, as they said, “too dark” to go along with the context of the article. I still think David Lynch would have liked it.

Matchteld in Her Car Digital print, 23x40 cm, dia slide 2007 — € 36 both print & slide

David Cronenberg Film still from “Crash”, 1996


Ich kann beim besten Willen kein Hakenkreuz entdecken "With the best will in the world, I can’t see a swastika"

Tempera on paper, 59x85 cm 2006 — € 100 Ja…ja…ja…ja…nee…nee…nee…nee…

Martin Kippenberger With the Best Will in the World I Can’t see a Swastika, 1984

No Such Title Pigment print on archival pearl paper, 15x20 cm 2009 â&#x20AC;&#x201D; â&#x201A;Ź 10 What really happened on Apollo 13 ?


Salvator Dali The Persistance of Memory, 1931

PJ Harvey by Jane Bown, 1995

Siblings #2 38x25 cm, Pigment print on Hahnemuller paper 2001 â&#x20AC;&#x201D; â&#x201A;Ź 30 Skinny, complicated and incredibly beautiful. She was a copy of Polly Jean herself - how could I not photograph her?


Max’s Room Photo collage, 30x42 cm 2008 — € 10


When I was small my brother was completely obsessed with the story “Where the Wild Things Are” by Maurice Sendak and so it happened that there was a time our mother read the story to us daily, maybe to compensate the boys for all the fairy stories me and my sister wanted to hear. What kept fascinating me in the book was the way Max’s room transformed whenever he was sent to bed without food because of all the wild things he was playing. “That very night in Max’s room a forest grew - and grew - and grew until his ceiling hung with vines and the walls became the world all around…”

Maurice Sendak Where the Wild Things Are, 1963

Andy Warhol Double Mona Lisa, 1963


Self Titled Collage & Thinner print, framed, 11.5x20 cm 2008 â&#x20AC;&#x201D; â&#x201A;Ź1

A part of a series of passport photos, all torn and reconstructed in a notebook, then enlarged as colour copies and traced with thinner onto another notebook. F@#$% WaRhoL ?!?!?!?!?

Amboy Road C-print, 30x40 cm 2008 — € 20

Amboy Road died eventually because of the American flag and the grafficality of the composition. It is too clean, too easy. There is not one single artist or image that I copied. It’s rather a combination of different artists and ideas that inspired me: Edward Hopper, David Lynch, practically the whole western film genre especially “Once Upon a Time in the West”, the gold rush in American history, “29 Palms” the movie, “29 Palms” the photo project by Stefanie Schneider, Wim Wenders “Paris, Texas”, Paul Bowles “Sheltering Sky”, and so on.


Sergio Leone Film still from “Once Upon a Time in the West” 1968

Easy Looks 15x15 cm 2009 — € 25 extreme easy..

57 website for professional makeup artists

Mystic Sounds Drawing in a frame, circa A3 2008 — € 34,38


Bruce Nauman The True Artist Helps the World by Revealing Mystic Truths, 1969

Saturnette Photo 62x45 cm Plaster, neon paint, chicken wire 2009 â&#x20AC;&#x201D; â&#x201A;Ź 26,50

Bernhard Willhelm Volta Untitled, 2007


Fluff Poster, A0 2009 â&#x20AC;&#x201D; â&#x201A;Ź 23 The image is so simple that trying to explain it kind of kills it... It's a playful formal exercise that came up while working on a project.


Kasimir Malevich White on White, 1918

Deer (re-make) C-print, 28x40 cm 2008 â&#x20AC;&#x201D; â&#x201A;Ź 20

Being bored on a island full of deer, looking for new images to make, admiring Tillmans work, I suddenly started to make a re-make from the memory of a great picture he made. No desert, no backpack, no horns, actually nothing the same. But happy to feel a tiny little bit of how he must have felt when he took the picture.

Wolfgang Tillmans Deer, 1995


Screwed.mp3 7.1 mb, 5:11 min 2009 — € 55


Beyonce Sweet Dreams, 2009

Dead Darlings

Anonymous Art Auction

Edition IV / 2009

Dead Darling IV  

Anonymous Art Auction

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