Alexander Rischer, Windschur

Die Bücherolympiade in den Räumen der Galerie Dorothea Schlueter

Öffnungszeiten:
Mittwoch bis Samstag, 14 bis 18 Uhr

Dorothea Schlueter, Galerie
Große Bäckerstraße 4
20095 Hamburg

Mit Büchern zum Blättern und Kaufen von über 30 Verlagen von A wie Assoziation A bis Z wie Zero Sharp, mit Titeln wie »Von Punk zu NDW« bis »Lego Fanatics«

Veranstaltungen: Jeden Freitag, sogar Sonntag. Genaues Programm unter: www.textem.de oder https://bucholympiade.wordpress.com

vorläufiges Programm:

Freitag, 11. November 2016, 19 Uhr
Eröffnung

Freitag, 18. November 2016, 20 Uhr
Als Albernheit noch half
Gespräch zu Kunst, Literatur und Politik
Robert Jarowoy, Max Schulze, Bettina Sefkow

Sonntag, 27. November, 15.00 Uhr
Comics, Kinder- und Jugendbücher
Mit einem Zeichenworkshop für Kinder von 8 – 14 Jahre und alle anderen, von Jul Gordon und Sascha Hommer

Sonntag, 4. Dezember, 18 Uhr
Korrektur- und Lektoratsworkshop
Mit Wigger Bierma, Gustav Mechlenburg, Stefan Moos und Nora Sdun

Freitag, 9. Dezember, 20 Uhr
Screening Frieda Grafe (Premiere)
Mit Rike Felka und Philipp Goll

Mittwoch, 14. Dezember, 20 Uhr
Nazis und Goldmund
Mit Sandra Gugic und Gerhild Steinbuch

Freitag, 16. Dezember, 20 Uhr
Spitzdach, Flachdach, Kreisverkehr mit Palmen – Architektur
Mit Sophie-Therese Trenka-Dalton (Textem Verlag), Markus Dorfmüller (Adocs Verlag), dem Magazin Grundlagenforschung für eine linke Praxis in den Geisteswissenschaften zum Thema Architekturen unserer Arbeit und One % of One.

Sonntag, 18. Dezember, 18 Uhr
Von Booktube, Reading-Challenges, Leserunden, Rezensionen, Fünf Sternen und HAULS.
Und: Ein Vortrag zur Geschichte digitaler Textmaschinen mit denen wir zusammen leben wollen.
Mit Ute Nöth und Paul Geisler

Mittwoch, 21. Dezember, 14 Uhr bis 21 Uhr
Großer Ausverkauf

Kommt alle zu Booky McBookface / booky-mc-readface venice of books hamburg / yolo books hamburg / the fookbair / abookalypse now, Hamburg / full bookal jacket / pretty in books / bookbusters / Die Rache der bookheads / Liebling, ich habe die Bücher sortiert / bookmen / boring reading revised / Bleiwüste 2016 / you want pictures / you get books! / Bei Einbruch Dunkelheit / fuck you, i won’t read what you write me / Gustav der Bücherwurm. Eine spannende Geschichte in einem großen Aufklapp-Bilderbuch / Hamburg muss sterben / enemies without books / bookvert (like pervert) / Heinrich Heine, Mors Mors

Booky McBookface wird unterstützt von der Kulturbehörde Hamburg!

Old school selfie at my new home

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moving out

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Encounter of the third kind

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A Finissage as bed peace

Mic’s link

https://ivc.lib.rochester.edu/revolutionary-love-a-coup-of-history/

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Last day of lunch

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In the awe of perspective

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mirror-selfie

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Recording week-end and sounds to become visual

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Thank you Nadine and Pane e Tulipani for a sweet night

Laying in a bed above a bar, I was told about the owner of that bar, how he would bang his fists on the tables quite regularly, it seems to be a professional thing.

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Images are faster than words

Doing the feeding

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3 legs are faster than 1

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New wax models, a full moon and movie nights

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Next day I was wondering why Monika kept calling me a phlegmatic, but a good one as she insisted, maybe that’s why:

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On Saturday artist Monika Frycova was my guest and gave us an entertaining lecture on her projects, starting with a soundingstring performance

To the moped that took her from Iceland to Portugal to bring salted Bacalhau from the north to the south and the two Trabis she converted into a Trabilimo

And much later a nightly skype talk with her Icelandic Brotherhood friends

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Saturday morning, I don’t wanna get up

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After the concert selfie time and an excerpt

♪

My to late entering friends including Ida were wondering why I remain supporting act since five years, which made her wanting to be my manager, including carrying my gear and drinking with me at home.

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Looking forward to play at the local studio on Friday

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Weekend tragedy in the talk at lunch today, I can’t believe that happened, meaning I shall not see my friend golden pudel again, not as it used to be, gone, forever gone?

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Listening to the radio

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Meeting in the living room

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Trying the selfie

Real photography for other things

Photocredit Fred Dott

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Lunch everyday

and music

and sanding

but I won’t show you, come see it here:

Seepferdchen, Bullerdeich 7 friday night 6pm

and planing

and pulling money

and remitting money

and missing appointments

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Sunday

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postopening

♪

postopening

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and for them

and for them

for them

put to work

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cosy and all silent in downtown at night

moved in

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Jennifer Bennett took extended trips through Central and North America and dug for native clay in places as distinct as Medellin and Detroit. The resulting sculptures differed in color and texture due to their varying geological properties. The history of earth is inextricably linked with the most recent contemporary history. The strangely archaic ceramic bars and frames remind one of chemical models of geological structure grids or modern-day socio-scientific organigrams. Communication and social contexts, early and recent history, geology.

The sculptures are part of a series named “Stands on All Sides.” Inviting tricks of the mind, the ceramic objects function as a double or joker, like a plug that can be plugged in any direction. How many turning axes does the object have? How many levels of symmetry? Its legs stretch out towards all points of the compass. It’s a multi-point connection – a creature like a cat that always falls onto its clay feet. Its feet are painted – like varnished toenails or stained-glass socks – enamel.

“Being Home” is Jennifer Bennett’s second exhibition at Galerie Dorothea Schlueter. The artist will be in-residence at the gallery during the time of the exhibition.

The exhibition will be held at two locations simultaneously, as “Go Discuss: The Artist Comes to have Lunch” opens the same evening just a few hours later in Galerie Oel-Früh.

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Home

[See image gallery at dorotheaschlueter.com]

Mit Filmen und Texten von Christian Jankowski, Bronislaw Malinowski, Dirk Meinzer, Pierre-Dominique Gaisseau, Luigi di Gianni, Stefan Panhans, Margarete Riemschneider und Andrea Winkler. (Es lesen Lisa Marie Janke und Jörg Pohl.)

»Papa Wata II«, 2012 (Dirk Meinzer), »I guess I need you baby«, 2015 (Andrea Winkler), »The best ones make you feel as fearless as Beyoncé« 2015 (Stefan Panhans), »Augengott und Heilige Hochzeit« 1953 (Margarete Riemschneider, Lesung), »Die Jagd« 1992/1998 (Christian Jankowski), »Nur Himmel und Dreck« Ausschnitte 1961 (Pierre-Dominique Gaisseau), »Ein Tagebuch im strikten Sinn des Wortes« (Bronislaw Malinowski, Lesung), »Il Culto delle pietre« 1967 (Luigi di Gianni), »Mami Wata I« 2005 plus Lesung (Dirk Meinzer).

Considering the aestheticization of cult objects, witchcraft, commodity fetishism and junk.

An exhibition with a diverse range of objects, including security labels, sneakers and the tears of manatees.
DIRK MEINZER, STEFAN PANHANS, ANDREA WINKLER
Opening: Friday, December 11, 2015, 7 p.m.
Run time: Saturday, December 12 to January 23, 2016

A used fire blanket becomes a screen, cut-up camping mats and rubber flip flops are turned into the floats of a fishing net. Fattening food for bodybuilders is kneaded into salt dough and shaped into marbled climbing grips. The shimmering texture of a carbon-fiber mat (used to cover a motorcycle helmet) forms a special alliance with black snakeskin, while a stretched-out universe has been dumped below the cabinet that these two objects are displayed in. This exhibition is deliberately reminiscent of the ignorant chaos of a flea market, and also – again intentionally – a parody of those dreadful esoteric promises of happiness that of course only take effect once people with superstitious natures buy them.

“The Carp of the Tench” is a confusing formulation, something akin to “The Fish of the Fish” or, to more accurately reflect the different species, “The Cat of the Dog.”

“Carp” has two meanings: a species of fish or “to complain.” If we were to translate “tench” into German, we would get the fish called “Schlei,” but there’s also the river named the “Schlei.” So, across the two languages, the sentence could mean “The Fish of the Fish,” or “The Complaint of the Fish,” or “Fish of the River Schlei.”

“The Carp of the Tench” is a text equivalent of this exhibition. If we play with different variations of form and content, we change the emphasis. We’re exhibiting a series of paintings. The element connecting the pictures on display is a variation of circles and spherical shapes, while each image naturally maintains its own subject matter. Many motifs play with the idea of fake or bastardized metaphysics, for example optical illusions that provoke false conclusions.

David Fletcher devotes himself, both seriously and playfully, to these very such constructions. A good starting point here would be the feeling you get if you stare at a Braque painting for a long time – after a while you feel like you have access to this physically impossible space, before you realize that your own behavior is equally impossible and absurd, and that the picture is mocking you.

The Carp of the Tench

What is ‘The Carp of the Tench?’

It is a phrase upon wakening:

‘The heart of the sun. The heart of the sun. The heart of the tench. The carp of the tench.’

Or: ‘Set the controls for the carp of the tench.’

What is the carp of the tench? Is it like the ‘Chicken of the Sea’?

Quote: ‘In the “old days,” fishermen referred to the white albacore tuna as “chicken of the sea.” It was called this because the white color and very mild flavor reminded them of chicken’

Also: *Carp: to complain. Niggling in complaint. Peevish in complaint.

Poem:      ‘Complaining old tench!’

‘And stop complaining old tench!’

Resting then, were the young fishlings around, the

Poor old Tench who’d ran all spirit aground,

O’er cradle: Yes! But only as one that is a floater!

Fustilly the tench: ‘I will stop all this moaning, gather your pride; yet

Thy will not die: words aren’t poison!’

The carp and the tench, seldom eaten in the UK are best known through angling and through education.

Quote (2008 UK): When farmed ‘their diet (the diet of the carp) is supplemented not with pellets but with grain bought from local farmers and scraps from the kitchen – carp are pretty much the chickens of the fish world.’

Tench translates as der Schleie. There is a river that is called der Schlei. To the ear ‘The Carp of the Tench’ becomes ‘The Carp of the River’.

Quote: ‘The tench being found in waters where even the carp cannot survive’. Is the carp of the tench the carp who likes the muddy substrate?

Quote – a question: ‘…Whilst fishing the top pond during the Barras match yesterday, I caught what I thought was a tench. On closer inspection, the fish had large barbels. Is this the norm, or do you get carp – tench hybrids?

Quote – an answer: ‘…to me it sounds like a leather carp.’

Quote – a journal: ‘ 200 hours: Although the hybrids are still alive, the development of the various parts is asymmetrical and anomalous and their appearance becomes increasingly monstrous. They display serious malformations in the opercular and branchial regions.’

Quote – a jour­­­nal: ‘400 hours: Hybrids display a very high degree of malformation in the cephalic region, which is covered with globose or elongated protuberances. The body of the fish is very thin due to malnutrition. This may be considered as the end of the experiment since the hybrid begins to die in the hours immediately following (Fig. 20).’
(David Fletcher)

Color Fields is Berlin artist Gabi Steinhauser’s second solo exhibition at Dorothea Schlueter in Hamburg.

We’ll be showing new large-format photographs that are much less abstract than her previous work, but nevertheless created in the same spirit. Despite photography typically being flat or two-dimensional, she takes a sculptural approach to her work. It’s as if the ray of light from the projector forms a three-dimensional body rather than simply lighting up a flat sheet of photography paper. (Aside from technical exposure issues in the photo lab, light does in fact form bodies. The impression of warped, bent or otherwise shaped objects is always a result of the lighting – evidence, or that which can be certifiably identified via visual inspection, doesn’t exist in the dark.)

Gabi Steinhauser focuses strongly on the visual composition of her photographs; her intention is to take photos of the world that then become pictures – not to depict the world as such, but rather as an abstract composition of color and form.
Is it possible then to take a photograph of a person, for example, without it becoming a portrait? To take photos of figures rather than personalities? The peripheral area in a photographic composition is just as important to Gabi Steinhauser as the figure itself, whether it be a house, a palm tree or a person. She uses the world as a provider of motifs in order to ask fundamental questions surrounding images: How can we break through the visual, depicted surface and understand the reality in its context?
The viewer should neither get too caught up in trying to find explanations in the narrative, nor get introspectively lost in the visual spaces; besides, what is the visual space anyway?
The battle between abstraction and illustration, and the evident nature of imagery, has to be fought over and over.
It is within this tension between the photograph’s connection to reality and its own intrinsic reality that the meaning of pictures is constantly being redefined.

A publication featuring the works in this exhibition will be released, and we would also like to thank the company Vorwerk.

11. Juli bis 26. Juli, 2015

11. Juli, Nachmittagsempfang 15 – 17 Uhr
Achtung andere Öffnungszeiten!
Di. – Fr. 13 bis 17 Uhr
Sa. + So. 11 bis 17 Uhr

Eine Ausstellung kuratiert von Andrea Nolte im Rahmen des Hamburger Architektursommers 2015.

Ausstellung und Begleitvideo thematisieren die Präsenz der Skizze als Werkzeug im heutigen Büroalltag. Inwieweit ist der »mit dem Stift skizzierende Architekt« noch Realität in einer Arbeitswelt, in der sich Computer Aided Design weltweit etabliert hat. Bewirkt die Arbeit am Rechner Veränderungen in der Architektur? Denkt der Architekt noch mit dem Stift? Wie wird die Skizze eingesetzt, verarbeitet und wie sieht sie heute aus, wird sie aufbewahrt?

Diese Fragen stellte  Andrea Nolte, selbst Architektin, in Hamburg tätigen Architekten: Architekten, die älter sind, die vorrangig handwerklich mit Stift und Reißschiene gearbeitet haben, Architekten, die beide Arbeitsweisen beherrschen und jungen Architekten, die hauptsächlich am Rechner arbeiten.

11. Juli bis 26. Juli, 2015
Achtung andere Öffnungszeiten!
Di. – Fr. 13 bis 17 Uhr
Sa. + So. 11 bis 17 Uhr

Hans Castorp.
(Rosenquist, Horizon Home Sweet Home, 1970, revisited.)

Bernd Cailloux, The Financial Year 1968/69 (Das Geschäftsjahr 1968/69, 2005)
“The crowd loved its effect, its rebellious flickering, its electrifying, liberating nature. It destroyed old forms of dance, made them impossible. The rapid transitions from darkness to pure brightness seemed to throw everyone into the depths of their dual natures. The flash aroused dormant forces, freed energies, desires and tendencies, drove away inhibitions. (…) A mental surge had run through every person and split their time into a before and after.”

Dictionary of Philosophical Terms (1998)
“Organization, a term first circulated in the 18th century, especially in relation to the French Revolution, the ordering by humans of the many parts of a whole in a purposeful and consistent manner, in order for it to function like an organism.”

Interview James Rosenquist March 18, 1991 (http://www.achievement.org/autodoc/page/ros0int-1)
“One piece I did back in 1970 was a room of vertical colored panels… I put a dry ice fog on the floor and Claude Picasso came and started taking photographs of it. I had just met him. And the colors seemed to disappear right into the floor, and the floor seemed non-existent. It was a fog. And with reflective panels. So the reflection that went into the fog was very unusual too. Because the energy from the reflection disappeared as it went into the fog. So that’s the way I accomplished that feeling. I did one version that was called Home Sweet Home, and the other one was called Slush Thrust.”

The Eurocentric view of the individual is characterized by the economy insofar as the community is seen as little more than another distinct customer group. The artistic works of Armin Chodzinski are dedicated to social processes at the end of an industrialized society. His work combines, both in a technical sense and in its content, issues surrounding collectivity, romanticism and a societal structure that develops from hierarchical principles into a network and then a swarm. His lead pencil sketches on room-high plywood panels show elements of his research into organization, or of his analysis of networks or individual patterns of where people meet and move.

“I try, in a desperate hunt for knowledge, to do little more than to understand what the world is all about as it gets caught up in the competing egos and engineered market laws that threaten to trip it up.” (Armin Chodzinski)

Armin Chodzinski is a historical interpreter, performer and artist, as well as elocutionist, ex-manager and author. The broad spectrum of his areas of activity may obscure the fact that his style and approach were primarily shaped in visual arts. Despite its discursivity and loudness, the material, form and intelligence of artistic activity, as well as the stupefying quality of aesthetic phenomena are key aspects of his work.

Thomas MANN (1924) : The Magic Mountain (Der Zauberberg)
Siegfried KRACAUER (19291971): The Salaried Masses (Die Angestellten). Suhrkamp paperback 13.
Bernd CAILLOUX (2005): The Financial Year 1968/69 (Das Geschäftsjahr 1968/69). Suhrkamp edition 2408.
Wilhelm BERGER / Peter HEINTEL (1998): The Organization of the Philosophers (Die Organisation der Philosophen). Suhrkamp edition 2096.
Michel DE CERTEAU (1988): The Arts of Doing (Arts de faire). Merve 140.
Herbert LACHMAYER / Eleonora LOUIS (published 1998): Work&Culture. Office. Staging Work. Ritter Verlag, Klagenfurt.
Andrzej HUCZYNSKI / David BUCHANAN ( 2001): Organizational Behavior – An Introductory Text.
Joachim RADKAU (1998): The Age of Anxiety (Zeitalter der Nervosität). Propyläen paperback.

»Baby Birds«

Christiane Blattmann und Jannis Marwitz.
Objekte aus Polyester, Plexi, Zink sowie Malerei.

Eröffnung Freitag 3. April, 19.00 Uhr
Laufzeit 4. April bis 16. Mai

I am looking upon the Santa Maria del Fiore. The building that my grandfather Lorenzo Ghiberti designed. Yet, his plans were stolen, through the unscrupulously evil Filippo Brunelleschi. And now, I, his grandson… eh… Alfredo Marticelli Ghiberti, will get my revenge upon the Brunelleschi Clan by stealing their treasure. And I have discerned its location, and it’s a collection of holy relicts atop the Santa Maria del Fiore.
So now I’m gonna go do that.
Spite the rumours and the claims of the History Channel, it was not Brunelleschi who spent hours cracking eggs, trying to find the secret behind their eggy toughness and durability and ability to stand under their own weight. It was Ghiberti. He was the true genius of the Renaissance. And he’s the victim of an evil conspiracy with the Pazzi and Cesar Borgia and all the other bad guys, all teamed up. Even… even Benito Mussolini was involved, because he was… back then… since he is a vampire.
I’m going to climb the tower and get over to the lantern of the Santa Maria del Fiore. And then I will loot it of its treasures and the Brunelleschis will look at the empty treasure boxes and they will go boohoo, boohoo.

Warning! This eye test can only reveal a tendency. You can neither achieve complete sensory certainty by sitting in front of a computer, nor with a postal invitation – to do so, you have to come to the gallery! Pin this invitation to a well-lit wall at eye-level. Stand two meters away from it. If you’re into stencils, microcultures, diggings in one’s own picture, and short and long sprayed lines that are subsequently crowded by two pudding-like surfaces on a different picture, if you enjoy looking at paintings whose appearances switch from the cracked surface of the moon to a thermal camera photo, if you’re familiar with the idea of veiling your own cognition, upsetting the legibility that you were initially hoping to achieve and briefly thinking up paradoxes that you have to endure as a result, then this exhibition is definitely for you. You should seek help if necessary.

512 Seiten – Leinengebunden – 220 x 300 mm
150 Euro
Textem Verlag, Hamburg 2014
ISBN: 978-3-86485-073-8
Gestaltung: Christoph Steinegger / Interkool
Herausgegeber: Nora Sdun, Sebastian Reuss, Galerie Dorothea Schlueter
Textem Verlag, Hamburg 2014

http://www.textem.de/index.php?id=2497
bestellen unter: versand(at)textem.de

»Thank you for making this commercial accessible with captions. I watched the clip. I was fascinated. And I thought, need to live forever. (Néztem a klipet. Leny gözött. (És arra gondoltam: örökké kell élni.) Such simple ,yet a profound poem... And a  fantastic clip, so inspirational... Thanks for sharing Consciousness ... PEACE. Your  life is your life. Don‘t let it be clubbed into dark submission. Be on the watch. There  are ways out. There is light somewhere. It may not be much light. But it beats the  darkness. Be on the watch. The gods will offer you chances. Know them. Take them.  You can‘t beat that. But you can beat death in life. Sometimes. And the more often  you learn to do it. The more light will be. Your life is your life. Know it while you  have it. Your are marvelous. The gods wait to delight in you. (vorgeschlagen von  harrypothead (cool and funny staff) Kinderreichen Familien, das sind die Frauen,  die Haushalt und Kinder haben und gleichzeitig in der Fabrik arbeiten müssen. Das  sind die proletarischen Jugendlichen, die keine Perspektive haben, aber auch noch  nicht Familie haben, womit sie gezwungen werden, angepaßt zu leben. Das sind die  Leute in den Neubau-Gegenden der Großstädte ... Dies Utopia wäre kein Zustand  ewigen Glücks. Die »natürliche« Individualität des Menschen ist ebenso eine Quel-  le seines natürlichen Leidens. Wenn die menschlichen Verhältnisse tatsächlich  menschliche sind, wenn sie befreit werden von allen fremden Maßstäben, auch  dann noch werden sie durchdrungen sein von der Trauer über ihren je einzelnen  Gehalt. Sie sind vergänglich und unwiederholbar, und ihr vergänglicher Charakter  wird deutlicher hervortreten, wenn die Sorge für das menschlich Wesen nicht länger  vermischt ist mit der Angst um seine materielle Existenz und überschattet  vom Schrecken der Armut, des Hungers und der gesellschaftlichen Isolation. Es  klingelt. Die Tür geht auf. Wer kommt rein? Er. Man kann diesen Mann nicht ge- nug würdigen - für seine Verdienste um Deutschland und Europa, für seine mora- lische und private Integrität, für sein Charisma, für seine brillante Intelligenz und Eloquenz. Und dafür, dass er immer konsequent seinen Weg gegangen ist. Wie gut, dass in diesem Land nicht Menschen wie Du etwas zu sagen haben / hatten. Er ist wohl die herausragendste deutsche Persönlichkeit, ihn als Menschenfeind zu bezeichnen zeugt von totaler Unintelligenz. Gottseidank stehst Du mit Deiner Meinung so gut wie alleine da! Der Rest der Welt schätzt Ihn für seine Weitsicht, Intelligenz + Weisheit ! Er ist meiner Meinung nach der Letzte noch lebende Held dieses Landes. Wenn man einen Kanzler auf Lebenszeit bestimmen könnte: Es ware für mich Er! Welcome.This simulation is the place to explore your darker nature and most importantly - be who you really are you know what we are talking about - the true darker side of yourself. The side ou normally hide. Your true identity.  This is not a scene driven roleplay simulation that has rules of engagement. This  is simply a place for your other life - the one that you are afraid of. The one that  you shield your freinds, family and co-workers from. The one that truly brings  you excitement - and peace. Die Glocke ruft die Kinder pünktlich in die Klassenräume.  Dort werden sie von Seelsorgern erwartet.«

]]> https://dorotheaschlueter.com/stutzer-hans/?lang=en 0 https://dorotheaschlueter.com/deistler-michael-loffelholz-jue-wiatrek-kenneth/?lang=en https://dorotheaschlueter.com/deistler-michael-loffelholz-jue-wiatrek-kenneth/?lang=en#comments Thu, 30 Oct 2014 12:27:11 +0000 http://dorotheaschlueter.com/?p=1941 “The Fascination of Senselessness” Michael Deistler, Jue Löffelholz, Kenneth Wiatrek Vernissage: Friday 7 November, 2014, 6 p.m. Runs from: 8-29 November, 2014

The title “The Fascination of Senselessness” is unapologetically grating. As the no-less-grating radio slogan goes, we’re bringing you the super hits of the 80s and 90s, as well as the best of today. Michael Deistler and Kenneth Wiatrek will exhibit their drawings on paper and walls, while Jue Löffelholz will bring objects from Frankfurt. The question is whether “The Fascination with Meaninglessness” would’ve been the more interesting title. The fact that senselessness is fascinating is clear to anyone who has ever thought about anything. Pointlessness is something of an emotional refrain, which can be repeated without the whole process actually being seen as pointless. The more complicated train of thought is whether there could be a fascination surrounding things that have no meaning, one that may not be senseless as it highlights a paradoxical relationship to something else. Which leads one to question why such complexities are generally more interesting than everything else. 

We welcome any other title suggestions, provided you come to the exhibition of course.

Galerie BRD mit der Ausstellung »Das Gespenst in der Maschine« zu Gast bei Dorothea Schlüter, vom 8. Oktober bis zum 2. November (eine Vernissage findet nicht statt).

Die Ausstellung ist Teil des internationale Kunstprojekts »Krankheit als Metapher. Das Irre im Garten der Arten«, kuratiert von Britta Peters. www.kamhh.de

Gina Fischli, Sakura Hada, William Joys, Tina Kämpe, Janina Krepart, Jannis Marwitz, Katharina Trudzinski.

“I like it with lots of others. William would like to sew a dress and, if all goes well, put on a little show later, in September.
Now I’m here in the kitchen with various baked goods, three bottles of shellac and the burger song every now and again.
The rainmaker baguette is on its way, tomorrow I’ll be in the ceramic workshop with the beautiful Susan Sontag.
Gina sets off to Gera to get a podium, and Katha kneads on.”

Opening: September 6th at 6 p.m.
Running time: September 10th to September 28th, 2014

Opening: Thursday, May 22, 6 p.m.
Running time: May 23 until July 5, 2014
New paintings by Berlin artist Rocco Pagel

“Still in the truth itself, the ultimate truth, which can only be one, there must be an And; this truth, unlike the truth of philosophers, which is permitted to know only itself, must be truth for someone. Should it nevertheless be the one truth, then it can be only for the One. And it thereby becomes necessary that our truth is manifold and that ‘the’ truth changes into our truth. In this way, truth ceases to be what ‘is’ true and becomes that which wants to be proven as true.”

Franz Rosenzweig, The New Thinking

Opening: Thursday, 20th February, 2014, 6 pm
Running time: 21st February until 29th March, 2014

– What’s his talk?
– He ain’t made wordstuff.
– It’s a long track. Maybe he’s burned out.
– Maybe. Maybe he’s just listening… Walker? Hello?
– Maybe he’s talking but we ain’t hearing.
– You see his lips ain’t moving.
– Not with wordstuff, with sonic.
– That ain’t never gonna work. Sonic-bonic bullshit.
– This is Delta Fox X-Ray, can you hear me? Delta Fox X-Ray, come in. Is anybody out there? Can you read me, Walker?
(later, photos are shown)
– ‘Member this?
– Tomorrow-morrow Land! (probably New York)
– ‘Member this?
– The River of Lights! (a motorway)
– ‘Member this?
– Skycraft!
– ‘Member this?
– Captain Walker!
– ‘Member this?
– Mrs Walker!

(Mad Max II)

[See image gallery at dorotheaschlueter.com]
Photos: Fred Dott

Opening: Thursday, December 5th, at 6 p.m.
December 6th, 2013, to January 18th, 2014

Fountain, tower, mill, clock, bell.

The drill for the fourth bore of the Elbe Tunnel plunges deep into the earth, devouring it. On the walls of the well shaft are stylized figures, crystals and strands of minerals.

By the entrance to the well, a ventriloquist sits with his puppet, not a robot, but rather an automaton lady of the sky, with the frame of a high-voltage electricity pylon making up her body, it could also be a hoist frame, as she towers from high above. The ventriloquist talks to himself, considering bachelor machines, while the robot lady, unfazed, surveys the world below with her prism eye.

This exhibition shows conflicting approaches to drawing that are nevertheless bolted together by a number of thematically linked bridges. Suspended, hard as glass, crystalline, and exuding cold technical precision in one place, while dreaming meditatively at the next.

(Translation: Matthew Way)

Opening, October 25th , 6 p.m.
26. October – 24. November

Axel Loytved has an effectively succinct (lapidar) way of working. Like throwing a stone (lapis) into a pond:

A subtle movement from the shoulder, a short splash, circular ripples, the stone has sunk.

Now you can pick up another stone, or leave it alone.

Axel Loytved is constantly picking up more stones. He spin-dries scrap paper in the laundromat, turns packaging into bronze sculptures, creates prints from a container of fries and, while he waits for the scrap paper wash, cuts a carpet into strips and collects snow from car tires to be later used as sculptures.

A crucial factor for all of these activities is that the objects involved are ones that he comes across spontaneously. Axel Loytved doesn’t work from a premeditated concept that, through research and a desire to further one’s knowledge, leads to a desired result, but rather relies on each object’s own significance and inherent capacity to be given meaning when cleverly combined with other objects, a meaning that could not have been predicted in advance.

This means having to tolerate this succinct way of working. He has to put up with promising ideas going up in smoke or visually attractive objects that words cannot do justice. It is also difficult to control what happens and, above all, to repeat the same process – even if it is performed under the exact same conditions.

“The world is all that is the case,” wrote Wittgenstein, and this can be expanded to read: “Anyone can look around aimlessly – finding is what matters.”

(Translation: Matthew Way)

A picture-cycle by Sönnich Hinrichsen of the creation of the world adorns the gallery of a church. Photographed by Alexander Rischer, the paintings depict the Garden of Eden, the Fall from Grace, and so on. One of the images, that of genesis, seems to be scandalously inverted, the first light of day at the bottom of the picture. Was the painter a black magician? Or had he imagined the division of light from darkness as a dawn, the sun rising radiantly into the receding night?

Anna Gudjónsdóttir’s paintings can be placed shortly before this moment of elemental separation. Vortices of grey matter swirl stormily around each other, their wild and lithe turmoil anticipating the imminent division into darkness and light. Or perhaps they are swirls of fog? Is there a silhouette within them, seen yonder by a child hastening over a moor? “When the eddies of peat-smoke justle, / When the wraiths of mist whirl here and there / And wind-blown tendrils tussle, / … When the tangled reed-beds rustle”? * (from The Boy on the Moor (Der Knabe im Moor), Annette von Droste-Hülshoff, trans. Charles Wharton Stork). In her poem, Droste-Hülshoff’s boy runs across a moor, with terrifying spirits and servants of the grave close at his heels; the awful Spinning Witch, the thieving Fiddler Knauf who stole the wedding feast, and not forgetting the damned Margaret. But he has a guardian angel and makes it to safe ground, unlike the unfortunate child that Goethe’s Erlkonig famously drags forever into his netherworld, his father denying to the end the existence of such dreaded things until, of course, it is too late.

And what lies hidden in Gudjónsdóttir’s glassy red canvases? Bloody pools? Tissue samples? Molten lava? Or more spirits, another black magician? Are they the insides of the whale where Jonah weathered the storm? In Alexander Rischer’s photographs of Jonah, the whale looks more like a Mummy’s sleeping bag, out of which Jonah conspicuously peeps, seeming to recite his evening prayer.

In this exhibition of photographs and paintings many trails are laid connecting the work of the two artists. And as a magical union the exhibition forms a two-note organ, with one pipe for each.

[ [See image gallery at dorotheaschlueter.com]

A picture-cycle by Sönnich Hinrichsen of the creation of the world adorns the gallery of a church. Photographed by Alexander Rischer, the paintings depict the Garden of Eden, the Fall from Grace, and so on. One of the images, that of genesis, seems to be scandalously inverted, the first light of day at the bottom of the picture. Was the painter a black magician? Or had he imagined the division of light from darkness as a dawn, the sun rising radiantly into the receding night?

Anna Gudjonsdottirs paintings can be placed shortly before this moment of elemental separation. Vortices of grey matter swirl stormily around each other, their wild and lithe turmoil anticipating the imminent division into darkness and light. Or perhaps they are swirls of fog? Is there a silhouette within them, seen yonder by a child hastening over a moor? “When the eddies of peat-smoke justle, / When the wraiths of mist whirl here and there / And wind-blown tendrils tussle, / …..When the tangled reed-beds rustle.” (from The Boy on the Moor (Der Knabe am Moor), Annette von Droste-Hülshoff, trans. Charles Wharton Stork). In her poem, Droste-Hülshoff’s boy runs across a moor, with terrifying spirits and servants of the grave close at his heels; the awful Spinning Witch, the thieving Fiddler Knauf who stole the wedding feast, and not forgetting the damned Margaret. But he has a guardian angel and makes it to safe ground, unlike the unfortunate child that Goethe’s Erlkönig famously drags forever into his netherworld, his father denying to the end the existence of such dreaded things until, of course, it is too late.

And what lies hidden in Gudjónsdóttir’s glassy red canvases? Bloody pools? Tissue samples? Molten lava? Or more spirits, another black magician? Are they the insides of the whale where Jonah weathered the storm? In Alexander Rischer’s photographs of Jonah, the whale looks more like a Mummy’s sleeping bag, out of which Jonah conspicuously peeps, seeming to recite his evening prayer.

In this exhibition of photographs and paintings many trails are laid connecting the work of the two artists. And as a magical union the exhibition forms a two-note organ, with one pipe for each.
[See image gallery at dorotheaschlueter.com]

(Pre-Afterwork-Ok-Clubset)

Opening 7th June, 2013 at 5pm
Exhibition 8th June ? 13th July, 2013

AND

videoinstallation in public space
STEFAN PANHANS
The Long Goodbye (Pre-Afterwork-Ok-Clubset) Casino
1. July ? 30. October 2013
Steintorplatz
(Hauptbahnhof U-Bahn Ausgang Steindamm)

Stefan Panhans? exhibition is also the setting for his new video work.
The gallery space will form both backdrop and production site of a development process that visitors at the opening will be able to see in a specific state.
An installation whose potential will come to promise that something is going to happen here which isn?t yet known.
Speculations are welcome, but only this much can be revealed: The video that?s to be filmed here will form part of a work in public space (location and time of the video presentation to be announced).

We look forward to your visit to the ?Possible Videoset?, now a physical space (?Items for Possible Videosets? is the title of an open photo series by Stefan Panhans.)

This is the final exhibition in the spaces in St. Pauli. Exhibitions will continue in the city center in September.
(English Translation: Matthew Way)

Thanks!
Eva Charlotte, Daniel Flieger, Martin Freiling, Lisa Marie Janke, Silja von Kriegstein, Corinna Kropiunig, Swanhild Kruckelmann, Aendi Kudszus, Neele Maak, Carlos Martinez Paz, Sophie von Redecker, Michael Schnizler, Lilly Thalgott (Camera), Andrea Winkler, Eike Zuleeg (Light)

*

*

?Items For Possible Videosets? since 2009 (Work in Progress)
Light Jet Prints, 30 x 45 – 60 x 90 cm

Stefan Panhans
Born in Hattingen 1967
Studied communication design at the
Merz Akademie, Stuttgart and fine arts at HfBK, Hamburg
lives and works in Hamburg, Berlin and elsewhere

In his book The Varieties of Religious Experience (1902) the psychologist and philosopher William James constructs the idea of the “divided self” (the term was coined by James). He explains its meaning as part of a varied world of human experience. Some people only need to be born once, and live lives of inner harmony, they do not have to wrestle with their own demons, and the rewards of life are immediate and permanent. The rest of us are in conflict with ourselves, and need a second birth in order to achieve a more settled inner life. This need not be a birth into religious faith, it is simply a resolution of conflicting instincts, of the division in the self. This resolution gives rise to a united picture of oneself and the world, albeit one where the shaping memory of inner turmoil is never lost.

Through James’ model of division and twice-born resolution it seems possible to describe a relationship between Simon Logan and David Fletcher’s work.

Both artists allow the conflated influence of their our own daily lives, memories, and a broad reading of art history to shape their artworks. They both allow internal and external worlds to fuse or conflict with each other in the genesis of their work. But a kind of harmony, rich, dark and resonant seems to hang around David Fletcher’s paintings, a harmony that Logan’s work seems to aim at, whilst remaining divided in artful discord.

Unstuck in time, but rooted in their own striking definition, David Fletcher’s paintings turn the conflicts of desire, daily experience, memory and knowledge into grounded and compelling expressions. Frank O’Hara’s 50s New York fed through a thousand reproductions of posters of the jazz age, confessed and willed into a newly sharpened grand vision, or watering cans that seem inhabited by the ghost of de Chirico, dark gardens and a stark arm holding one of the cans, images that shine out in high contrast from a space halfway between Los Angeles and an MR James ghost story. Artworks twice born in their making, Fletcher’s paintings are reconciled in their enigmatic calm.

In Logan’s work there are often bright colours, the spectrum being a recurring motif, and skilfully rendered improvised drawings or model-like sculptures, alongside far more scratchy and provisional works. Like Fletcher, Logan draws on a diverse range of imagery, invented and recalled. Yet unlike Fletcher, the precipice of uncertain public and private worlds, the abstract, the descriptive and the cryptic are all still at war with each other “spherical heads that provoke a kind of surrealist clich” whilst showing a singularly personal imagery, small sculptures sometimes clumsy, sometimes overwrought, heads, houses, wings, boats, collisions of half memories, improvisation and flawed expression. Logan’s work still waits to be born again.

David Fletcher will show new paintings, Simon Logan will show new drawings and sculpture.

Text: Gethin Price

Opening: Friday, 22 March 2013, 5 pm
(Performance “Dongs of Sevotion”
with Alice Peragine und Fion Pellacini, 7p.m.)
Running time: Saturday, 23 March – 13 April 2013

Two years ago Paul Sochacki insisted that he would put on exhibitions with more than 40 female artists. His exhibition plans are now pursuing a different path. Another plan was to translate the “Formal Abstraction of the Body” advertising campaign into reality, whereby a customer of Paul Sochacki would receive a document to certify that the gallery owner had had sex with the customer – something that the owners of the Dorothea Schlueter Gallery were not overly enthused about. You’ll have noticed that the industry is full of these tricky situations.
Sochacki got to know Elke Marhöfer at a feminist football haunt. She was a striker unrivalled amongst her peers, and impressed Sochacki with her discreet cinematic eye for the “Share of the Shareless”.

We’re delighted that Elke Marhöfer will be screening her films and Paul Sochacki will be bringing his menagerie with him, i.e. giraffes and elephants on canvas.

Click here for a review of this exhibition by Jens Asthoff published in Frieze/de: Paul Sochacki, Frieze-Magazin

Dong of Sevotions from dorothea schlueter, galerie on Vimeo.

Großzügige Sachzuwendung (Generous Donation) presents still and moving images by the German artist Heiko Neumeister and the British filmmaker John Smith.

Both artists are drawn to the everyday, a familiar comic grotesque of stubbornly solid objects and constructions. The quiet diligence with which hotel corridors or piles of discarded furniture are observed builds into a dreamlike logic, sometimes suggesting an expression of political intent, sometimes a description of a metaphysical system. Yet any train of thought always returns to material subject matter, heavy and impassable, like crash barriers along a speedway track.

We would like to thank Vorwerk for the carpet, photographic laboratory Andreas Doria, Martin Wellermann for photographic printing, and Rainer Korsen for supplying monitors. We would especially like to thank Volko Kamensky for the design and installation of the exhibition.

Videos: courtesy of the artist and Tanya Leighton Gallery, Berlin

26th January – 9th February 2013

“There they were again, those dark ill-defined patterns that swam in and out of each other. It would only be a matter of time before Draper’s nerves were completely shot. His work at the station had run on for half a century now, and he couldn’t recall ever having seen structures like these before. They reminded him of satellite photos of the jungle. He re-calibrated the parameters; decisions like this had brought him close to disaster in the past, but there was no other way.”

(William Grey, The Sapphire Fount Trilogy)

In his second exhibition at Dorothea Schlueter Gallery, Michael Deistler will show over twenty paintings, all portrait format, medium sized and abstract.

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Michael Deistler previous exhibitions

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Michael Deistler, 2010
Ballpen on Cardboard, 68 x 48 cm
[See image gallery at dorotheaschlueter.com]

Opening: 7. December 5pm
Duration: 8. December 2012 – 19. January 2013

[See image gallery at dorotheaschlueter.com]
[See image gallery at dorotheaschlueter.com]

Nicole Messenlehner has re-built the prison set from Jean Genet’s notorious film “Un Chant d’Amour”, in the gallery. Based on Messenlehner’s interpretation of the spaces shown on screen, she has divided the gallery into two different rooms, the second of which can only be viewed through holes in the wall of the first. The actors are no longer present. What remains is the formal aesthetic of a gallery, with its determined organisational constraints. In the office, Nicole Messenlehner presents the first issue of the magazine “Kultur & Gespenster” on Hubert Fichte, alongside the German publication of Fichte’s interview with Genet from 1975.

“Un Chant d’Amour” shows an older man delirious with desire, yearning for physical contact with a boy in the neighbouring cell. This love story climaxes emotional with a cigarette shared between the two of them, one blowing smoke to the other through the thick prison wall with a straw, all observed by a sadistic and jealous prison guard. Genet had no time for parables, allegories, or other morally instructive hokum, rather the reverse. When he showed brutality or obscenity, he intended exactly those things. Tales of rescue or resolution were alien to him. Unafraid of confronting abjection herself, Nicole Messenlehner uses this exhibition to paraphrase a certain artistic attitude. This confrontational affectation has never been able to stir great enthusiasm in artistic institutions, but is conversely highly prized in the swirling collective imaginations of artistic communities and culture geeks.

Jean Genet (1910 – 1986), a prominent French author, vagabond, rent boy and thief, spent the greater part of his youth in prison. He wrote novels, plays, poetry and essays. His work describes an underworld of male prostitutes, pimps, criminals and outsiders. “Un Chant D’amour”(1950) was Genet’s only film. It was banned from cinemas on the grounds of its pornographic imagery, and only received its first public screening in New York in 1964. As a result, Jonas Mekas, the organiser of this screening, was beaten by police and imprisoned. Over the years the film has been gradually accepted as a masterpiece, although Genet himself came to hate it.

Link to Jean Genet “Un Chant d’Amour”: http://www.ubu.com/film/genet.html

239 Seiten, perforiert
8,35 Euro
ISBN 978-3-86485-031-8
Textem Verlag, Hamburg 2012

bestellen unter: versand(at)textem.de

In his book The Varieties of Religious Experience (1902) the psychologist and philosopher William James constructs the idea of the ‘divided self’ (the term was coined by James). He explains its meaning as part of a varied world of human experience. Some people only need to be born once, and live lives of inner harmony, they do not have to wrestle with their own demons, and the rewards of life are immediate and permanent. The rest of us are in conflict with ourselves, and need a second birth in order to achieve a more settled inner life. This need not be a birth into religious faith, it is simply a resolution of conflicting instincts, of the division in the self. This resolution gives rise to a united picture of oneself and the world, albeit one where the shaping memory of inner turmoil is never lost.

Through James’ model of division and twice-born resolution it seems possible to describe a relationship between Simon Logan and David Fletcher’s work.

Both artists allow the conflated influence of their our own daily lives, memories, and a broad reading of art history to shape their artworks. They both allow internal and external worlds to fuse or conflict with each other in the genesis of their work. But a kind of harmony, rich, dark and resonant seems to hang around David Fletcher’s paintings, a harmony that Logan’s work seems to aim at, whilst remaining divided in artful discord.

Unstuck in time, but rooted in their own striking definition, David Fletcher’s paintings turn the conflicts of desire, daily experience, memory and knowledge into grounded and compelling expressions – Frank O’Hara’s ’50s New York fed through a thousand reproductions of posters of the jazz age, confessed and willed into a newly sharpened grand vision, or watering cans that seem inhabited by the ghost of de Chirico, dark gardens and a stark arm holding one of the cans, images that shine out in high contrast from a space halfway between Los Angeles and an MR James ghost story. Artworks twice born in their making, Fletcher’s paintings are reconciled in their enigmatic calm.

In Logan’s work there are often bright colours, the spectrum being a recurring motif, and skilfully rendered improvised drawings or model-like sculptures, alongside far more scratchy and provisional works. Like Fletcher, Logan draws on a diverse range of imagery, invented and recalled. Yet unlike Fletcher, the precipice of uncertain public and private worlds, the abstract, the descriptive and the cryptic are all still at war with each other – spherical heads that provoke a kind of surrealist cliché whilst showing a singularly personal imagery, small sculptures sometimes clumsy, sometimes overwrought, heads, houses, wings, boats, collisions of half memories, improvisation and flawed expression. Logan’s work still waits to be born again.

David Fletcher will show new paintings, Simon Logan will show new drawings and sculpture.

(images: Simon Logan, Head 1, 2013, David Fletcher, Watering Can, 2013)

Text: Gethin Price

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David Fletcher previous exhibiton

*

David Fletcher

Paintings from Balfron Tower

Opening: Friday, November 9th, 7pm

Duration: November 10 – December 15, 2012
[See image gallery at dorotheaschlueter.com]

After studying at the Royal College of Art, Fletcher moved in to a studio/flat near the top of Balfron Tower, a huge mid 60’s concrete Brutalist block in East London. Despite falling into neglect, the block has retained an air of dignity owing to its forceful outward appearance, and majestic upright form, which stands at odds with the urban decay which surrounds, and occupies it. Inhabiting the tower is an explicitly multifaceted experience; the exterior, the interior, and its vantage point providing three independent and immersive elements that could certainly be said to provide one avenue of interpretation for the body of work produced there. Fletcher seeks to make paintings that act as simple records of the varied and complex phenomena of the everyday. Slowly moving through various cycles, these paintings depict a range of different viewpoints; from banal or willfully poignant interiors or cityscapes; to formally condensed, symbolic representations of a personally important narrative, or metaphor. The need for simplicity and directness in the depiction of these varied phenomena, leads to the focused use of a range of formal devices in the work; a pragmatic sense of purpose, and not a desire to provide a historical or theoretical frame is the aim here. Fletchers work can be said to consist of constantly evolving set of images, each painting having both a degree of autonomy; whilst also being a part of the series as a whole.

Kultur & Gespenster Nr. 12 »Märchen«

Die 12. Ausgabe des Magazins Kultur & Gespenster ist fast ein bisschen zu schön geworden und widmet sich ausschließlich der Märchensammlung von Karl Müllenhoff, welche er 1845 veröffentlichte.

Kultur & Gespenster bringt einen Teil der Sagen, Märchen und Lieder der Herzogtümer Schleswig, Holstein und Lauenburg, ergänzt um ein Gespräch zwischen dem Mediävisten und Literaturwissenschaftler Hartmut Freytag und dem Künstler Alexander Rischer, welcher im Herbst vergangenen Jahres etliche Fahrradtouren durchs Holsteinische unternahm, um die Originalschauplätze der Märchen für dieses Heft zu fotografieren.

Wunderbarerweise waren fast alle Orte zu finden: Heidnische Kultstätten, Quellen, Bäume, Kirchen, Glocken, Plätze für Mirakel und Rechtshändel, auch versunkene Orte und solche, an denen der Teufel den Übermut strafte. Gespenster, Irrlichter, Zauberer, Werwölfe, Teufelspferde, Drachen, Zwerge und weiße Frauen gehörten zum Alltag. Nicht zu sprechen von den Seuchen, Vorzeichen und Weissagungen, den versunkenen Schlössern, Grabhügeln, schlafenden Helden und Heeren, verhängnisvollen Bäumen und natürlich den überall vergrabenen Schätzen.

bestellen unter: versand(at)textem.de

[See image gallery at dorotheaschlueter.com]

Landmarks, Seismology, Motor Sport and the Scandal of Politics and Banking

Some news from Iceland: a man instructed by his bank to hand over the keys to his house and his car hired a large digger, dug an enormous hole, and pushed both car and house into it, piling the earth back on top. The next day, as arranged, he handed over both sets of keys to the bank.

Everyone orientates themselves on landmarks. It doesn’t matter what they are: a pile of rubble, a construction site, a single standing tree, a rock formation or a flat-topped mountain, all serve equally well.

In the exhibition “Landmarks” the Icelandic artists Sirra Sigrún Sigurðardóttir and Erling TV Klingenberg cut intersections between differently marked out landscapes. The landscape of motorcycle escapism, like a German bank commercial: lone trapper’s paths opened up by the empowering roar of an internal combustion engine, the thrusting power of banking opening up limitless freedom. Opposing this lionised liberation are towering heights and sundering chasms, graphs that plot the sudden rise and ensuing descent into hell of the Icelandic banks, the brutal verticality of these peaks and troughs an uncanny mirror of the mountains and gorges of Iceland itself.

Sirra Sigrún Sigurðardóttir’s Tremors show landscapes where all orientation has broken down. People are filmed standing on an earthquake simulator, the action starting after the main shock has occurred. The films show the still reeling disorientation of aftershocks, a recurring experience that confuses as much the tenth time as the first. Such emergencies are no time for poetic subtleties: the repeated tremors in Sirra Sigrún Sigurðardóttir’s films hammer home a parallel with Iceland’s financial collapse, and the aftershocks that continue to rock Iceland’s society and institutions.

Perhaps a good way to avoid feeling the smaller earthquakes might be to jump on a motorbike and redline off into the landscape. The growl of the engine and clouds of dust should mask the shuddering ground, or the social collapse, depending on what kind of quake you’re trying to get away from; literal or metaphorical (or perhaps in Iceland, both). Although Erling TV Klingenberg is no willing petrolhead, he has nonetheless been driven to co-opt the motorcycle. What subtle gesture of obtuse conceptual art can still be recognised in the thundering overnight collapse of the state? Klingenberg uses a motorcycle as tool to paint with. Like a dog flinging earth out behind him with a gnarly paw, Klingenberg sprays paint up with a wildly spinning revved up rear wheel. Stupidly dangerous and pathetically impotent, the bike is raised off the floor and can go nowhere. The paintings that result from this dare-devil mud flinging resemble the silhouettes of vertiginous peaks.

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We would like to thank Heuser Motorräder for their generous support in realising this exhibition.