(2003 — 2021)

Reconfigurations

– selected works

Reconfigurations

– selected works

Untitled [Thank God], 2012
Volkswagen Golf
“Cinema”, Auf AEG, Nuremberg

Photo: FAMED

Untitled [Spatial
Reconfiguration #13], 2011
shifted neon tubes
“DIS/PLAY/GROUND”, Platform 3, Munich

Photo: FAMED

Untitled [Spatial
Reconfiguration #12], 2010
acrylic yarn
“Untitled (Ohne Titel)”,
Neue Gesellschaft für Bildende Kunst, Berlin

archiv.ngbk.de
Photo: FAMED

The Nature Theatre of Oklahoma [Spatial Reconfiguration #10], 2009
MDF, wooden structure, dispersion paint
“Weak Signals, Wild Cards”,
De Appel, Amsterdam

[Spatial Reconfiguration #10] was presented within the framework of De Appel Curatorial Programme’s exhibition Weak Signals, Wild Cards in the canteen at the former Shell site in Amsterdam, which at the time was being transformed into a cultural center. The Nature Theatre of Oklahoma is an allusion to Franz Kafka’s novella Amerika (1927) and at the same time roughly outlines a potential rostrum for hammering out artistic and social utopias.

deappel.nl
Photo: FAMED

Untitled [Spatial Reconfiguration #7], 2008
MDF
“Thinking Space”, :emyt, Berlin

Untitled, 2008
light projection on cinema screen
“Thinking Space”, :emyt, Berlin

Photos: FAMED

Untitled [Spatial Reconfiguration #6], 2007
MDF, plasterboard
“Reading Back And Forth”, Stadtmuseum Graz

Dead Letter Office [Bartleby’s Melancholia], 2007
concept, performance
shipment investigation form
“Reading Back And Forth”, Stadtmuseum Graz

A module made up of three walls divided the exhibition room into a form whereby the resulting spatial segments could only be entered from each of their adjacent areas. The context of the work thus shifted towards the memory potentiality of the visitors and their capacity to reconstruct these sequential connections. At the center of the architectural intervention, a form sheet that commissioned the investigation of a lost piece of mail was put on display. This documented the search for the script to the performance Dead Letter Office, which in case it turned up would have enabled the performance.

archiv.steirischerherbst.at
Photos: David Auner

Untitled [Spatial
Reconfiguration #2], 2004
MDF
Galerie Laden für Nichts, Leipzig

This installation dramatized the entrance to the gallery by making it necessary to pass through a bar to gain access. Simultaneously, as an architectural intervention, a sculpture and a performative setting, [Spatial Reconfiguration #2] explored the specificity of Laden für Nichts, a self-organized, non-commercial exhibition venue in Leipzig. In particular, it set the social spaces of gallery and bar in relation to one another, revealing their interconnectedness and mutually constitutive roles.

Photos: FAMED

Untitled [Spatial Reconfiguration #1], 2003
plasterboard, fluorescent lamps
Galerie Laden für Nichts, Leipzig

In 2003, within the framework of open-house tours, the off-gallery Laden für Nichts emerged as a reconstruction on a 1:1 scale in the Gallery of the Academy of Fine Arts. Invited to participate in this exhibition within the exhibition, FAMED seized the opportunity offered by this shift of cultural spheres from off-space to institutional space. They temporarily shut down the reconstruction and instead carried out an architectural intervention at the original gallery in the Sebastian-Bach-Straße. The normally untreated walls of the Laden für Nichts were paneled with whitened plasterboard to a height of 220 centimeters, establishing a correspondence between the underlying structure and the installation. By means of this circumventable partition wall, a compact spatial ensemble was produced that was homogeneously lit by three installed fluorescent lamps arranged parallel to each other. Starting with the micropolitics characteristic for the Laden für Nichts that went along with a subtle rejection modus in face of established art institutions, [Spatial Reconfiguration #1] questioned the boundaries between underground and mainstream models. The Laden für Nichts, which saw itself as a countermovement to the usual gallery system, ironically opposed the cliché of the white-cube exhibition space.

Photos: Anna KO

(2003 — 2021)

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