The Thinking Machine is a language-based instrument that is an elemental part of my everyday practice. It consists of 150 words on three revolving discs that I spin every morning. The resulting word-combinations stay with me throughout the day and serve as the basis for my visualization in either the form of a photograph, a video or the description of a situation. Installation view at Goethe Institut Oslo.
Images from the Thinking Machine: Grønland
An exhibition scattered throughout Oslo's district of Grønland where various stores and other places incorporate my Images from the Thinking Machine in their window displays. The images result out of a 30-day stay at Grønland and create a subjective portrait of the disctrit. The exhibition has been realized in cooperation with the Goethe Institut Norway.
exhibition text german/norwegian
Kunsthalle3000 is an institution as intervention and follows the aim to transform the unused potentials of public spaces into new situations. Currently Kunsthalle3000 is located in the Alois-Drasche-Park in Vienna. Here, an old blackboard and some wooden stools become the host for situations, performances, screening and talks by various artists.
Selling the chairs
To support Kunsthalle3000 its five wodden stools have been offered and sold as Gold Memberships. Each Gold Member received an engraved metal plate with him/her name that stays on the stool.
Festival of Minimal Actions
Considering that the best way to keep a “performance” alive is to repeat it, I have collected concepts of various artists which I repeated myself during the festival I have created and called Festival of Minimal Actions. The 1st Festival took place in Brussels (2014) and Paris (2015). Image: Reperformance of Adrien Tirtiaux‘s Dog Days
Ich habe mir von oben auf den Kopf geschaut / I looked on my head from above
Behind the associative sequence of short sentences written out of the First-Person-perspective a inventory is hidden with conceptual-narrativ works from several decades of art history. The collection of actions and interventions includes about 500 works by artists ranging from Abramaovitch to Zhang Huan.
I want to become a millionaire
An on-going performance which aim is to finance new projects in an independent way. Since 2010, for more than 400 hours cumulatively, I have stood around in public spaces with a sign informing people of my intention to become a millionaire. Thereby I sell signed sheets each with a continuous edition number for 1€. To date I have earned more than 24.000€.
At the beginning of the 20th century, industrials engaged artists to illustrate their stock certificates in order to enhance the value of their company through aesthetic representation. After a while, demand did increase – not for the economically superior shares - but for the most beautiful certificates … I started offering space to other artists on the Millionaire-sheets, inviting them to create a personal work on each piece of paper.
Find the sheets here.
A balancing seesaw requires equal force or weight, in all parts - but its most stabile condition is imbalance …
Installation view at Nicolas Krupp Gallery, Basel.
The video shows two man crossing a frozen puddle various times: One man runs - the other one flollows slowly, so that the ice starts to break.
To avoid a cold butt when sitting outside people sometimes use newspapers, magazines or cardboards. Po-Stücke/Butt Pieces is a collection of these items from various places that are reused as seat covers for a new audience.
Le Pharaon doré
Living statues, disguised as golden pharaohs, appear continually in different spots in Paris. The golden figures remain motionless until a passer-by inserts a coin. The reward for which is a little bow. One would assume that competition is good for business. At the least, it should lead to more creative energy. This makes it all the more interesting that the pharaohs seem somewhat indifferent to driving economic forces – an attitude which is emblematic of “ennui”. In Le Pharaon Doré, I brought together twenty pharaohs in a video installation through the multi-channel interplay of pausing and bowing.
I pick up a loose cobblestone and walk around the city with the stone in my hand. This gesture not only induces disconcerted looks from strangers, but also provides a strong personal experience to the performer: How does one’s gait change? Am I myself capable of throwing a stone? Under which circumstances?
Brussels Stones (for Munich)
A pile of Brussels Stones is placed in the exhibition space. The visitors are invited to pick up a stone and walk around with it through the streets of Munich. By re-creating my action, the visitors are able to experience the performance for themselves. Installation view at Sperling, Munich
A gallery door is held open during its opening hours by a number of doorstops, all taken away from various different locations. What has caused the doors to fall shut elsewhere opens up the gallery to casual passers-by here.
I leaned planks against various house walls. Some time later, I returned to these spots and found most of the planks kicked through and broken. Thus, the planks become a visible document of an individual, hidden aggression.
Posters are spread throughout the city and announce an invisble performance happening somewhere in the city for a random audience. Image: Bonne Gluck – Every day I place a full bottle of beer on the same bench.
Text-based drawings that narrate my actions and situations for a new audience. Image: Bread and Circuses
A series of videos that show re-enactments of situations done with my hands.
play Die Taube/The Pigeon