2023 | steel object, sound collages | commissioned for the compensation area of the Städtische Galerie in the Bürgerpark, Kirchheim unter Teck | curated by the art advisory board of the Städtische Galerie im Kornhaus

The Städtische Galerie im Kornhaus Kirchheim unter Teck is closed for renovation work. As a kind of replacement, the artists Dellbrügge & de Moll had a compensation area created that transfers the dimensions of the exhibition space into the public urban space. This area, accessible at all times, consists of rubble from demolished houses.
m² to m³ to mˣ takes the approach of her colleagues further without violating the integrity of the artwork and makes the surface itself the subject: What space of possibility opens up above the compensation surface? What can the imagined space contain? How does one deal with the countless stories that are already contained in the material of the surface?
Based on these questions, different scenarios of these multi-layered possibilities are developed in workshops together with students of class 6b and 8b of Allenschule Kirchheim.

2022/2023 | sound installation, 8 speakers, 8 bird nesting boxes, forest and animal sounds | Exhibition view Vogelklang-Soundcamp 2023, Black Forest | Foto: Irene Pérez Hernández.
Created in 2023 in the context of the artist residency @ Kunstverein Global Forest in St. Georgen for the “Vogelklang” (“bird sound”) sound camp in the Black Forest near St. Georgen/Furtwangen/Triberg.

What does home („Heimat“) mean to you? What melodies do you associate with this individual idea of home? These were the questions I asked in order to find people in St. Georgen and the surrounding area who want to participate in my project “Rhapsody (Black Forest Edition)”.
Rhapsody tries to rethink the concept of home as a polyphonic sound, that forms a home in which all people as well as animals and nature are equally involved. To find a universal, common language, I asked people to whistle their melodies. An identification of personal characteristics such as age, sex or origin was no longer possible on the basis of voice.

The recordings of the whistled melodies are now played from small loudspeakers in the forest, so that the whistling blends in the natural sound carpet of the Black Forest. People, birds and the wind in the trees now whistle together. Thus a sound image of home arises, a large whole, which nevertheless allows polyphony and diversity. After the sound camp is over, only the loudspeakers are removed, the bird nesting boxes are left to the animals in the forest.
The melodies were whistled by Metin Akcham, Gafur Camtay, Garbi Camtay, Nebahat Camtay, Gülüsan Çetin, Mehmet Çetin, Nikita Federov, Kerstin Grießhaber, Nailton Heringer, Wolodimir Kmoruzkevskyi, Engin Köker, Merve Köker, Daniel Leguy-Madžar, Danyi Martynchuk, Ömer Sahin, Tuba Sahin, Awa Samura, Rodion Stupar, Ekaterina Suzanskaya and Lingqi Zhang.

Thank you for facilitating and supervising the project to Daniel Leguy-Madžar, Irene Pérez Hernández, Norbert Schnell and Olsen Wolf and all the people involved.

2023 | beer tables | 300 cm x 220 cm | Exhibition view sitting in a tin can, galerie peripherie Tübingen 2023

The Shrine (Icon) questions the presence of the artwork in both analog and digital space, as well as its shift of meaning in society, from the icon in antiquity to the autonomy of modernity to commodity and capital investment in the present. Like a medieval Icon painting, the installation of usually down-to-earth beer tables floats under the ceiling in the corner of the exhibition space, a former brewhouse. The corner is elevated to the “Herrgottswinkel” (Lord God Angle), from which the radiant orange surface of the tables reflects their experiences of numerous festivities into the heart of the former brewery, now the exhibition space. At the same time, the work defies closer examination by its inaccessible height: the traces inscribed in the surface can only be guessed from a distance, the Icon becomes an icon – an intangible image of reality. Despite hypertopian1 accessibility in virtual space, details of the archive remain hidden; they can only be experienced in real and direct confrontation.

Curated by Kristof Georgen and Reinhard Brunner. The show was part of the programme Trüffelsuche of Künstlerbund Baden-Württemberg. Thank you also for helping with the set up to the team of technicians at Sudhaus Tübingen.

2022 | painted objects (water jug, book, harmonica, bench), photographs in 4 different Bammerthüsli | Exhibition view Bammerthüsli Kunst Projekte, Müllheim 2022, Bammerthüsli 5 on the road from Vögisheim to Feldberg from outside. An overview map with a list of all Hüsli can be found here.

Aus krummem Holz relates the narratives of romanticizing the simple life „in the good old days“ on the one hand and technological mania and belief in progress on the other. Both ideologies are extremes in the attempt to secure the survival of mankind. At first sight incompatible with each other, both however look for solutions how living together on earth (or another planet) can be possible on the basis of human basic needs such as dry shelter, safe sleeping place, uncontaminated food, social togetherness and cultural education. Aus krummem Holz avoids a valuation in favor of one or the other narrative line, which diverge further and further in social discourse. Only the title indicates that human (co-)existence can never be perfect, but is a constant trying and approaching.

 

The Bammerthüsli Art Projects 2022 were an exhibition organized by Kriz Olbricht in and around Müllheim. Starting points are Bammerthüsli, small solitary buildings in the vineyards, in which until the 20th century a Bannwart (Alemannic: Bammert) protected the ripening grapes against birds and mouth robbery. The majority have stood empty for years, forming their own network of coordinates in the agricultural and settled landscape. Text: Kriz Olbricht.

2017/2022 | 121 wheat straw bales, architecture | 250 cm x 540 cm x 450 cm | Exhibition view Destructura, MMIII KV Mönchengladbach 2022

Photos: Klaus Schmitt

2022 | eggshell dust, UV spray paint, Anröchter limestone, UV light | Exhibition view De Structura, Städtische Galerie im Park Viersen 2022
Cooperation with Jennifer López Ayala: „Toxic Earth – If i lose myself in you“ | 2022 | eggshell dust, UV pigment, UV light and Sophie Innmann „Selfie“ | 2017 | limestone, spray paint

Together, we explore how two individual works and positions relate when they are combined. Is the visibility of one’s own work and identity destroyed or does it gain more space?

Jennifer: „The special thing about this way of working is to open up much more intensively than usual to one’s spatial neighbour. We were assigned these two rooms with a door in the middle. That was the point where we became interested in sharing the space and making it bigger. We studied each other’s work, and together we selected these two works that we formed into a new one.
In this project, it’s a material-specific encounter and exploration of nature, the becoming and passing, the wisdom that endures. What is particularly exciting is that the main act
is a painterly one that stages itself without either of our intervention. The weighting of the spray cans with the limestone causes the pigment to spread over the room over hours and leaves behind a painterly gesture that neither destroys nor interferes with each other’s space.“

Sophie: „Our collaboration leads to the fact that you can’t separate the two works afterwards. It’s an irreversible act, a meltdown. Both individual positions are present and recognizable in their respective strength and yet merge into a holistic image. The result is an extract and at the same time a sum that is more than its parts.

2022 | posters designed for advertising pillars, intervention by passers-by and environment, translation of the compositions into audios | Exhibition view Ghost Notes, public space Stuttgart 2022

UCC provides a public archive, collecting human and non-human stains of life. The white paper is an invitation to participate, the lines are the setting and build the frame for further translation into sound, which will be done by the sound artists and musicians Andrea Conangla (UCC 3) and Felix Nagl (UCC 2).

Listen to the audio translation of the second billposting phase of UCC, which was on display at the corner of Danneckerstraße/Etzelstraße in Stuttgart between October 10 and 29, by sound artist Felix Nagl here. For the best sound experience please wear headphones as it is an binaural piece.

The four-minute track Felix composed from the stains on the posters is based on an improvisation, played on an analog synthesizer. The few marks the billboard contains, consist of the notation of three melodic lines, some of which became pulsating beats of the track by transposing them into extreme registers. One of the notated melodies is a quote from the 2nd movement of Beethoven`s Violin Concerto, which can be heard in fragments.
The supposed silence indicated by the blank spaces on the posters serve as a mirror of the space in which the column is located – a surface that reflects the sound of the environment. In this way, the soundscape of the public space, whose spectrum ranges from supposedly disturbing noises to the chirping of birds, also finds its place in the setting of UCC 2.

Foto above: Enzo Birra

2019/2022 | charcoal on paper | 50 cm x 70 cm | Exhibition view Ghost Notes, Kunstbezirk Stuttgart 2022

The drawings in the series Durchschlag are created according to musical wishes of people involved in the exhibition process. By playing along to the different songs on a snare drum prepared with carbon paper I transfer the audio from a temporary acoustic form into a permanent visual form of existence.

Titles of and links to the songs from left to right:
Josh Wink – higher state of consciousness
Art Blakey – Buhaina Chant
Marina Herlop – miu
METIN2 [MasterNoobs] MevelMuff Durchschlag Krit [U65]
Rauelsson feat. Simin Tander – L`Altare

Foto: Frank Kleinbach