Here I mention
some finished or current work. The reason is not just promotional, but
also my wish for Your ideas and some communication. Technical developments will rarely function without any impulses
from outside. Cultural ones
definitively will not.
My list (sorry some announcements will remain in german language and there still is a difference to the list in german):
|The opening of Takako Saito's exhibition at the CAPC musèe d'art contemporain de Bordeaux confronted me with a whole series of unknown aspects. Above all, the mass onslaught of the public on the exhibition required a great deal of management. The ninety year old artist patiently underwent the signing hour for the catalogue.|
|In the spring of 2019 I will be dealing with engineering students at the AIB in Bonn. They come from Lafayette College in Pennsylvania. It is obviously easy for them to improvise a Romanesque church in the freshly fallen snow.|
|Neu-Ulm: the little sister city on the Bavarian Danube side across from Ulm will be 150 years old. The staff of local Edwin-Scharff-Museum
takes this as an opportunity to think about the cityscape and the
public sculpture stock. I may therefore invite artists to
explore this city in open-ended walks.
|In a small but fine selection on the art of Fluxus, the Ausstellungshaus Spoerri (Spoerri exhibition center) in Hadersdorf in Austria has assembled selected works of art. In addition to the regularly exhibited works by Daniel Spoerri, many ideas that have become a concrete form of this poetic, experimental and artistic art that goes beyond borders are on display. Among them is also a larger part of Takako Saito's work. A magazine published for the exhibition contains my little ABC about this artist..|
|Berlin-based artist Thorsten Goldberg has created a subtle and mediating installation at the canteen of the Bonn Federal Ministry of Education and Research: "Reflected ministry", as a projected image sheet, presents other artworks, in part significantly older but on the same terrain. Visitors can control the sequence of photos on the glass by their own movements. A booklet is in preparation, to which I was able to contribute a text.|
|The documentation for the art project "Fluchten" is printed. It is exciting to see the many ideas, discussions and artistic products collected and reflected.|
|In the new course for the Akademie für internationale Bildung in Bonn students of animation are present. I am curious about their results: studies deal with mouse holes, lonely places and social readings of public seating. My part for this course is a short discourse on art history. Whether such considerations can be included in the results?|
| A wonderfully made small documentation booklet has appeared for Fuge, gefaltet17 by Denise Winter.
This production for the pilgrimage church in Neviges was based on a
poem about Europe, which the artist wrote on a journey and decomposed
by translations and convolutions into phonetic fragments. It was
performed twice in a choral dialogue. In addition, a slide projection
with images of "calving icebergs" illuminated this architectural
|She is a fascinating artist: Takako Saito, whose great exhibition is now coming in the Siegen Museum of Contemporary Art. Alongside with it, a book is in sight, which will be edited by Eva Schmidt and me.
|With the title "urban art & architecture" a course of Architect Bruno Röver and me is running for students of Loyola Marymount University. Based at the Bonn Akademie für internationale Bildung, the seminar deals with art history and basic questions of space and architecture. Excursions and individual sketch books are specials in this course.|
|It has started: the art project "Fluchten", having been planned together with my collegue Ludger Hengefeld since some time for Caritas Association in the Archidiocesis of Cologne. It is about widening the narrow perspective focussing just on something like a "refugee crisis". The word is being framed by media and pictures according to it are repeated over and over again. This makes the discussion of these questions in general public an inacceptable narrow one. We hope reflecting these questions together with visual artists will help us to better perspectives towards these difficult items. The questions of flight and its perspectives are in no way new: Buddha, Christ or Mohammed have been refugees.|
|It was inspiring: together with my collegue Martin Seidel we interviewed each other concerning art and street. Now this can be read with the title "Kunst an Straßen- Fragen über Fragen" in the journal "kultur politik" of Bundesverband Bildender Künstler innen und Künstler (federal artists association in Germany), No. 2/2016, p. 13-18.|
|Now, after a long time of preparation it came out: Protest Cultures, a Companion. Kathrin Fahlenbrach, Martin Klimke and Joachim Scharloth have edited the voluminous 546p book aiming to be a new standard on that item. As to be expected, my small contribution focusses on Graffiti.|
|An attempt for an artistic research on reception undertook by Dagmar Schmidt concerning her work "Grabungsstaedte" now has lead to a publication. It is remarkable, in which many concerns this installation in the vanishing Halle-Silberhöhe quarter has cause reactions since 2005.Biologists list how and which plants have spread taking posession of their realm, photographers with different objectifs show how the installed furniture has been used and how the concrete becomes aged. Archeologists examin the ground. I'm glad to hear that Kunstfonds and Kunststiftung Sachsen-Anhalt have funded the project - and happy to have contributed an introduction to such a fine thing.|
|Since some years I'm regarding works by Honoré
Daumier. Now I finally wrote a small german text about his "Philantropes du jour" cyclus. Here we go.
|Really, I did study this subject. Urbanistic questions always have played a role for my projects. Without a special focus towards this direction I was busy with city imagary and even offered some guided walks for different towns. May 2013 now will bring it all: it is about urban gaps in Halle and, by the end of may in Dortmund about the impact of street art on the pictural and meaningful side of towns.|
als soziale Form" is the name of the art project for the Caritas in
Cologne aiming to install a general discussion on charity, beginning
inJune 2013. Starting point is a bundle of questions on "Lebensmittel-Tafeln", which have some quite complicated impacts on social structure and social feelings. Seen historically images work with allegorical pelicans or nurses. It is worth asking for contemporary images of charity, feed and spirituality.
German homepage of the projekt
Naegeli managed for years and with uncomparable rigidity, consequence
and inconsiderateness to shatter the Zurich inhabitants and their faith
in the inviolability of property as founded in our legal system."
This said in the 1980ies to enforce the 9 month sentence for Naegeli at court marks just one level of the multiple work of "Der Sprayer von Zürich". An intense study of his graffiti will investigate his wall drawings and will keep me busy for the next months.
the course of livetime you happen to meet things several times, watch
some of your interests coming back or get clearer views of
correlations. During the end of my studies I was much occupied with the
architecture in the time of reconstruction after WW II. Now preparing a
lesson for architects offers me to give this interesting era another close look. Some keypoints are religious concerns, society-constructing forms and the mixture with art traditions.
|Now it is already over: the Seminar on Public art and how to promote it given by Dagmar Schmidt (who made the foto) and me at Halle University. During this we provisorically cleaned the mirroring ground plate of Klaus-Friedrich Messerschmidts work "Reflexion Geschichte" (1989/2000) at the regulatory authority in Halle-Neustadt. Thus we were able to see his artistic revision of his sculpture formerly standing on solid ground. And we managed to meet the "Blaues Wunder" of Düsseldorf artist Andrea Knobloch intervening in Kunstraum Kiosk hr.fleischer.|
wake up in the morning and don't know where you are. Or
in the night - and this is not the place that used to be. But somehow
it is looking similar: have I been here before or just dreamed I was?
People who used to live regularly at two sites might know the feeling,
whether they have defined strict borders between a place to live and
a place to work or whether they have felt like being home at the two
different places. Suspicion there might be much more to discover leads
me to a contribution to "Doppelleben ... Sein an zwei Orten",
a project that Dieter Hofmann is occupied with since some time at Burg
Giebichenstein. I am curious: in the end this should lead to
well-designed new objects.
|How do we find public art? is the key item of a teaching project which Dagmar Schmidt and I will have in Wintersemester 2012/13 at Institut für Kunstgeschichte und Archäologien Europas of the Halle - Wittenberg University. We can count on the experience we made during our curatorial grant in summer.|
|I cannot help it: I am fascinated by cars as a cultural phemonenon though I never had one for myself. It might have to do with the fact that some of the first words I was able to pronounce were car companies. The multiple slogans of many years have remained in my ears, too. The elegant remarks Roland Barthes (Mythologies, 1957; deutsch Mythen des Alltags, Frankfurt am Main 1964) opened my eyes to some hidden cultural levels of these vehicles, f.e. the "déesse" (goddess), which was really new as Citroen DS. During the 1960ies as a child I was much occupied constructing this car with my Lego toys.|
|Could things create love affairs if they were able to look around in space? "space affairs", the exhibition of artist, architect and poet Marc Mer opens this question. In Wien he has chosen from the MUSA collection some
crucials art works and positioned them in the exhibition hall. My text
for the catalogue for it focusses on the relation of spectator and
things toward spaces today.
|Seems like 2012 will be a time to focus a lot more on curatorial questions. Kunststiftung Sachsen-Anhalt awarded me a grant (together with Dagmar Schmidt). Here are some hints to basic thought. Special events are programmed: a public sculpture walk focussing on questions of promotional shares in the artwork. Or a talk about "Skulptur Gewächshaus", an art work by Johanna Bartl, Wieland Krause and Olaf Wegewitz that was mentioned before.|
|It exists since 1987: Kunsthaus Rhenania
- situated in the middle of the booming Cologne Rheinauhafen quarter.
this forner Speicherhaus (built in 1926) offers working space for
visual artists, musicians and theatre people and have a sepcial place
for cultural events. My project "Rhenania
puts up an exhibition which could mark the start of a series. The
Kunsthaus is focussing on public effect and exchange with other art
scenes elsewhere. Because of this the regards go to the own
a professional field it is as interesting as traditional: the
interchange between religion, art and promotional questions. one o my
activities since 2011 are exhibition talks in Kolumba Art museum of the
Archdiocese of Cologne. This massive and sophisticated building ba Peter Zumthor, the multilevel situation in the centre of cologne and the convincing collection of this house enrich these talks with a widespread range of different visitor groups.
|The Cologne Street Art Festival CityLeaks saw me engaged: I find an impulse for working at facades of the Inner City an the Ehrenfeld quarter is remarkable, as is the fact that artists were free in chosing their actions. I specially liked the mixture between alternative locations such as Kolbfabrik (here I was involved in "Archive Flickering"), the basic discussion of such activities ("Cityleaks Symposium") and the slippery floor of official points of view. Ending a series of pictures on typical quarter-items, the sophisticated contribution by L.E.T. now forms the wall's accent in front of Bürgerzentrum Ehrenfeld. "I will never say what You want to hear" is to be read: a laconic remark on tensions between consensual culture and juvenile rebellious consciousness.|
last visit to dutch Heerlen saw a confrontation of two fields
of art promotion facing each other with extended animosity.
A campaing for the newly-installed public art loan scheme attacked
the existing public sculpture. With tusks, it seems.
So I took some situational fotos of this clash of cultures and tried to adept to this Heerlen Invasion by a text (here as a pdf-file, german, with a possibility that a dutch version will follow).
I wrote a text which will give an introduction to an overview of works
this interestng artists group has done. This will come out in the
publication series Design / Designer by Paris-based Pyramyd Editions. As the printed version appears in french and english look here for the german text.
|Suitcases normally are few inspiring useful things which usually hide their content. Who goes deeper or reads Hans Christian Andersens special fairy tale
will recognize that these containers mean mor than they are supposed to
mean. As a gift when leaving Halle I got a suitcase full of art -
which resulted in some considerations I wrote on the item.
Some (more systematical) text about art suitcases as a pedagogical means is now planned for 2011.
|At the Art Fair I ran into someone who stated: I don't hear anything about You now. Do I receive Your newsletter? Shortly after that, the same ting happened again. Since now I don't know whether I should take this serious. Did the habits of bilateral informations alter in a way that now I behave like not normal and not communicative? To be honest: I like to receive individual letters, post cards, e-mails or calls. Mass mails I appreciate less. In relations to social networks I have quite some restrictions. Therefore I have been reluctant to accept invitations to be their part. Here are some reasons (sorry, just in german language).|
is as interesting as traditional: the relational field between between
church, art and promotional questions. One of my future activities from 2011 on will be museum talks in Kolumba
which is the art museum of the
Archdiocese of Cologne. The massive and at the same time filigrane building by the swiss acrhitect Peter Zumthor, the multi-level situation of this location in the centre of cologne and last not least the convincing collection of this museum make the talks to an challenging demand.Facing now the second of the annual exhibition changes, I am occupied with the new focus and title - which is "thinking".
|Lecture at the International Conference "Straßen. Von der Frühgeschichte bis in die Moderne. Verkehrsweg - Kulturträger - Lebensraum"
("Roads From early history to modern transport route - Bearers of
culture - living space," Thomas Morus Akademie Bensberg 7.-10.2.2011.
Already quite a while ago the term "street art" joined two spheres which otherwise are not necessarily related to each other. In addition to the art phenomenon which today has a streamline way to gain attention my contribution asks for those conditions, which road gives to art. On this basis, a further focus will open the discoures towards general cultural history.
|Paper presented at the Reichenau Artist Days 2010, Island of Reichenau, 10.-10.12.2010. General theme of the meeting: Image - representation.
This year's Cultural Days of Reichenau confronts ecclesiastical and artistic ways of thinking and theories of the picture. Objects here are the history of the exegesis of the holy bible, the Church's current criteria, philosophical and art-theoretical aspects.
My presentation: changing perspectives. Art and Church in interaction. Contact
Conference on "Color in Education" at Burg Giebichenstein Halle,
29-31.10.2010, with more than 70 participating speakers and workshops,
coming from many areas of education, as well as representatives in
education policy and a major thematic exhibition.
My presentation is: street soccer players of color. About some constant factors of the (self-) education in street art.
|"VOOR NIKS" is
about artistic giveaways, how easy You can get them, what they are
heading for and what use You can really have with them. Starting from Burg Giebichenstein the Halle University of Art and Design, the exhibition takes place in kus, a small Dutch Art Association of Heerlen. Unlike
the more historically-based precursor, the exhibition "Giveaways" (2002), a range of exciting artists from Halle, Heerlen and
Maastricht are actively involved. In the development of the project, the show goes to Halle, in the impressive kiosk of the art initiative "hr.fleischer". |
Further Information (NL/D) and Images
kuS (Kunstencentrum Signe), Heerlen (NL)
"hr.fleischer" Kiosk am Reileck, Halle / Saale (D)
an anderer Stelle bereits abgebildet, möchte ich hier noch einmal
gesondert auf ein Kunstwerk im öffentlichen Raum hinweisen, das mir
sehr am Herzen liegt und das zur Zeit durch Zerstörung bedroht ist. Es
Handelt sich um die "Skulptur Gewächshaus" der Künstler Johanna Bartl,
Wieland Krause und Olaf Wegewitz. Seit einigen Jahrenwächst in ihrem
Inneren - so das Konzept der Künstler - die Natur unbehelligt
weiter. Diese überzeugend im Bereich des alten Klostergartens in
Magdeburg platzierte und "angewachsene" Arbeit möchte der OB der Stadt,
Dr. Lutz Trümper, nun aus der Innenstadt und vom Elbufer weghaben.
Dabei scheint er weder wahrhaben zu wollen, dass der Standort Teil der
Arbeit ist noch dass gerade der prozessuale Anteil richtungsweisend die
älteren Arbeiten im Bereich des Kunstmuseums Kloster Unser lieben
Frauen bereichert. Dass das zudem ein Geschenk des Landes an die Stadt
war, macht die Sache nicht einfacher.
my work in Halle has some sentimental taste, but most of all, the
impression remains to have done useful work, having given positive
impacts, and being there in the right place. Both personally and
institutionally a whole series of contacts continue and some projects
arose. It is still an open question to what extent this will have lasting effects on my new plans.
Having been occupied with papers on Art in public realm and architecture-related art, it was time to make this an item in seminars. Connecting this teaching forum with everyday reality I expect impulses for both sides, specially as this item is in focus for a number of institutions, who want to locate this theme more often in public discussions ans in teaching.
|>An old flame does not die<, they say. After my intensive occupation with graffiti and other signs at the walls during my doctoral thesis this interest weakened a bid in my professional life. Since then a lot has happened. More than 25 years later I started again. The result is a wide-spread book about street art and graffiti which bundles
recent trends and older results. It is not only the artistic awakeness
for the public walls which matters here, but also all those questions
of mediation which have gained more and more importance for an information society.
Here are some hints by my publisher Ullmann-Publishing.
Kunstgeschichte als lebender und sich entwickelnder Organismus von
Bildern, Gedanken, gelebten Gefühlen und gesellschaftlichen
Verhältnissen: Das ist ein grundlegend wichtiges Arbeitsfeld für
Ausbildung, vermittelnde Praxis und beratender Tätigkeit. Und
offensichtlich gilt das für so unterschiedliche Bereiche wie die
künstlerische Selbstdarstellung und seine Fremdwahrnehmung, für
Fragen der Wand oder für Methoden und Triebfedern gesellschaftlicher
My projected book "Der interaktive Blick" is finished and will soon be available as an e-Book.
Er liegt noch immer
nur passagenweise vor: mein Beitrag zum aktuellen Kunsterklärhype.
Der Titel steht jedoch schon ziemlich fest:
Zur Ausstellung "Skulptur Projekte Münster 2007" ist ein Kinderführer (9.80 €) zu haben, für den ich die Texte verfasst und spannenderweise mit den Illustratoren Christoph Mett und Philipp Seefeldt zusammenarbeit habe.
Näheres unter: http://www.skulptur-projekte.de/information/publikationen/
als Kunstfaktor: ein Salon.
Am 15.4.2010 ging es im ungewöhnlichen abendlichen Veranstaltungsformat des Kölner Salons um die Wechselperspektiven zwischen Wirtschaft und Kunst.
|Der Nachhaltigkeitsaspekt interessiert mich auch für das freie Projekt "10 years after. Zu präh- und postaktuellen Situationen". Hier geht es um den Zeitabstand, der einen klareren Blick ermöglicht, historisch oder prophetisch. Und nicht zuletzt um all das, was durch den Aktualitätskult möglicherweise allzu rasch wieder aus der Optik verdrängt wird.|