Bild: Matthias Roth, Landscape I, videostill
With contributions from:
Michelle Alperin & Joe Neave, Boisseau & Westermeyer, Patrick Borchers, Henrike Daum, Helmut Dick, Andreas Drewer, Kim Dotty Hachmann & Ginny Sykes, Yuki Jungesblut, Peter Kees, Ruppe Koselleck, Hanako Miyamoto, Matthias Roth und Stock‘n‘Wolf
Nervous Belly, 2020/2022
Michelle Alperin & Joe Neave
2:18 min, no sound
Each image in the video Nervous Belly by Michelle Alperin and Joe Neave was individually hand-drawn on paper. Nervous Belly is about intimacy: a woman wants to rub her husband’s belly and he wants her to rub it. But he doesn’t want her to notice his roundness. For this reason, he tries to pull his belly in before she lifts his shirt. Sometimes he manages to pull his belly in before she lifts his T-shirt, but sometimes she is quicker and the curves are exposed. Either way, she rubs his belly and puts them both in a soothing, hypnotic state of bliss. Why be ashamed when you can have so much pleasure?
Der Freie Mensch – mit KI, 2019
Boisseau & Westermeyer
“Man asks – the machine answers” forms the initial dispositive with which Boisseau & Westermeyer confront their main character ƒ. What happens when the content of information is optimised and access to it is possible and unlimited at all times? Does the algorithm know ƒ better than ƒ knows himself? Can ƒ’s personality still be proven at all? Is the view with which he looks at himself still his own or has it become that of the algorithm? Are his expectations his own or has he already internalised the algorithm? The questions of the Free Man with AI seem to know no bounds, but what happens once everything unknown has been eliminated?
Plant Songs 3: Wegwarte / Blue dandelion, 2021
The starting point of PLANT SONGS are whistled, self-composed melodies for three specific plants. With prayer mill-like movements, the work stands between homage and self-forgetfulness and refers to the limits of human perception and communication in relation to other life forms / plants.
GROSSE VÖGEL, KLEINE VÖGEL, 2022
A flat mesh basket is attached to the corner of a railing. A blackbird hops in from the left and begins to eat the bird food in the basket. The blackbird flies away again and immediately a pigeon appears from the left and a blue tit from the front at the feeding place. The blue tit disappears again after a short time when a crow flies in from the right. In another scene, however, the three dissimilar birds can be seen very close and peaceful together. “Disputes” arise exclusively between two pigeons: one pigeon is repeatedly chased away from the feeder by another, flapping its wings.
healing grounds, 2013
Kim Dotty Hachmann & Ginny Sykes
healing grounds shows the rapid changes in Berlin-Friedrichshain. In a short time, the so-called “brownfields”, free urban green spaces, were replaced by exclusive apartment and residential buildings. The video documents an intervention in public space in which we poetically draw attention to the deficits of urban planning. The artists express their protest against this development with a ceremony in which they prepare the ground of the Freudenberg site for its future purpose. A 10 x 10 metre floor work made of spices is created.
Schwere Waffen (SPz Marder 1A3), 2022
Following on from my childhood memories of model building, mostly World War II fighter aircraft, I looked into the question of what heavy weapons might be. From a well-known kit manufacturer I ordered four that might fit this category and assembled them one by one The assembly of the SPz Marder 1A3 is shown here.
A lonely crab moves to the incessant beat of abstracted classical dance music (Ravel‘s Bolero). The crab becomes a performer, fighting with, courting its own mirror image. It laments its eternal anger.
The Heikegani (Heikeopsis japonica) is a species of crab native to Japan, with a shell that bears a pattern resembling a human face which some believed to be the face of an angry samurai. It is a local legend that these crabs are reincarnations of the Heike warriors defeated at the Battle of Dan-no-ura (close to Kitakyushu) as told in The Tale of the Heike.
Contemplating the distorted pattern on the back of the crab along with his actions, the viewer is left to wonder about what might be anger, what might be evil, all that is „böse“ …, and how it might evolve.
In an installation context the video is presented in conjunction with a poem by Bertold Brecht: Die Maske des Bösen
Duet for flute and violin, 2020
The video ‘Duet for flute and violin’ by Peter Kees shows the destruction of two instruments. A violin and a flute are pressed together one after the other like a car in a scrap press – literally flattened, subjected to a pressure that cannot be escaped. During the collapse, the body of sound emits noises, those last tonal “breaths” – not music, but sounds of destruction. “I made a video in which a violin is pressed, perhaps as a kind of commentary on the treatment of the arts in the Corona period. I was very shocked by how the arts were subsumed between brothels and sauna landscapes.I definitely felt that was a disregard,”, as Peter Kees comments on the video.
Den Opfern künftiger Kriege, 2015
Die Liebe zum Kopffüßler in 3 Akten, 2021
I decided to use a character drawn by small children when they start drawing people. In 3 episodes I tell in simple form what can happen when a childhood does not go well. Originally it was the story of a German artist, Horst Janssen. It can be transferred to many, mostly male characters. When slights are not dealt with (scene 1) the child in the man challenges the conflict (scene 2). It ends in white noise – episode 3.
Mein Tagebuch, 2016-2020
landscape 1, 2015
Bar Stories, 2019