cloth/collected painter’s rag sewn together 130x210x10cm 2023
Contribution to the showcasing of brand new obscure fashion label Uffda at Stabbursfrieri Leveld Kunstfestival in Norway. Some kind of Tree-shirt. Drop cloth rags closed/sewn together, festival shirts within the scope of unwearable cloths.
aluminium, wire, led-lights 65x18x20cm 2022
views at 5th International Lantern Festival and in private collection above the roofs of Berlin
MDF relief 77x72x6cm 2019
“No hash, no star, no swastika, no picture, no frame, no seal, no shield, no token, no sign, no angle the same, no symbol to name. The shifting eyes just see – some thing.” (EZ)
4c-Risography Ed. 30 42×30 cm 2020
The work is one recent result of my artistic practice in the use of the useless, of leftovers, bycatch, findings.
Earlier this year, when all together everyone at home, I started to use the most powerless tool I could find on my computer: MS Paint—which still comes with Windows. This is a very simple pixel-based painting tool. I put up a tiny canvas in oktavo ratio and placed some of the program’s template icons—carefully choosing their position and colour, in just using the standard palette.
I liked the result, but did not stop there.
The weakness of pixels is the resolution. I wanted my picture to be defined and sharp, so I translated it into a vector graphic. The picture now is rendered in mathematic curves—no more fuzzy pixel-stairs, but it is infinitely scalable. Throughout this transfer the forms on the canvas became more fluid, the shapes formerly put one on top of the other were melting and connecting.
To bring this abstract thing into everyday life I chose to render it in Riso—a digital printing technique with high quality inks. So my processed picture found its place on warm sheets of paper as a screen print.
There are still some prints available. Get your #Paint here:
MDF reliefs 36×8,5x2cm 48×13,5×3,5cm 54x12x3,5cm 76×13,5x5cm 66,5×16,5×3,5cm 87,5×11,5x4cm 33×6,5x4cm 57x15x4,5cm 68×14,5×6,5cm 59x11x4cm 66×10,5×3,5cm 2019
cloth/collected painter’s rag 118x88cm 2016
cloth/collected painter’s rags snell 68x64cm 2018
textile 77x77cm 2016
textile 61x61cm 2016
felt cloth sewn on stretcher 164x132cm 2012
felt cloth sewn on stretcher 100x250cm 2012
cloth/collected painter’s rags snell 102x37cm 2011
Digital print Edition 10 31x25cm (framed) 2010
5 October 2010. With “Twisted Standards”, the Kienzle Art Foundation continues its series of exhibitions custom-tailored to the exhibition space. Based on the initiative of the Berlin collector Jochen Kienzle, whose both extensive and specific inventory of art since the 1960s forms the footing, the Kienzle Art Foundation has been dedicated to the public communication of art in the form of exhibitions, publications, and lectures.
“Twisted Standards” features two artists who are prominently present in the collection. They are Emilio Prini (born in 1943) and Elmar Zimmermann (born in 1976).
Jochen Kienzle has set himself the goal of investigating even marginalized and quasi-forgotten or little known positions and putting them up for discussion. In this respect this event is logical and: different.
Curated by Daniel Kletke. A publication accompanies “Show 2.” It appears as a large poster, presented as hardcover bound leporello with images and German / English texts. Available at Kienzle Art Foundation.
Industrial felt sewn on stretcher panels mounted on armature in gallery space 240x548x16cm (corpus) 2010
A commissioned artwork for Kienzle Art Foundation willing to dim the street outside the gallery’s large shop window front – simply I decided to do just a little bit more.
A partition wall, a pictorial structure, a …
The tightly sewn and stretched industrial felt mounted on a wooden support and installed in the exhibition rooms in such a way that it completely alters the viewer’s spatial perception. The gallery spaces are expanded in several ways: enlarged through merging, increased in numbers, and detached from the architecture of the building, thus transformed to an experiential space.
Continue reading “Eine Wand”
Hof has been a room at Bielefelder Kunstverein in 2009. I conceived it for the duration of one exhibition upon an invitation by Thomas Thiel. The temporary and specific installation was built up of the works Wappen and Schlitten as of chosen examples from the Artothek des Bielefelder Kunstvereins. This pretty representative picture-lending library – founded in 1978 – consists of multiple artworks, mainly prints. It was practically out of use at that time – due to local loss of interest. This then changed.
Hof
installation at Bielefelder Kunstverein 2009
Wappen
felt sewn on stretcher 200 x 200 cm 2008
Schlitten
used laths and several framed pictures 90 x 240 x 65 cm 2009
From the Artothek des Bielefelder Kunstvereins: Horst Antes, Joseph Beuys, Felix Droese, Franz Eggenschwiler, Günther Förg, Günter Fruhtrunk, Dan Graham, Wenzel Hablik, Otto Herbert Hajek, Erwin Heerich, Thomas Huber, Horst Janssen, Gustav Kluge, Kurt Kranz, Vlado Kristl, Kaspar Thomas Lenk, Richard Lindner, El Lissitzky, Dieter Lott, Heinz Mack, Willy Maywald, Heiner Meyer, Lowell Nesbitt, Anna Oppermann, Petit Frère, Rainer Pöhlitz, Bernhard Prinz, Man Ray, Gerhard Richter, Alexander Rodtschenko, Dieter Roth, Sarah Schumann, Almir da Silva Mavignier, Elmar Stobinski, Georg Tappert, André Thomkins, Timm Ulrichs, Stefan Wewerka
Cloth/collected painter’s rags snell 163x152cm 2008
found painting cut into pieces and reconfigured 85x85cm 2008
This work has been part of Hans-Jürgen Hafner’s difference, what difference? Art Forum Berlin in 2008 as of Max Mayer’s Stand und Gestaltung Kunstverein St. Pauli in 2009.
