has been for sale for some time, as you have seen. The maintenance and ongoing development to keep our non-profit and idealistic platform for contemporary art running and safe from hackers etc. costs money that is no longer there. Because of small investments that are necessary now and the running costs, we will have to shut down with a heavy heart at the beginning of summer on June 21.
charcoal on paper, 309x430 cm
View of the group exhibition MCCV Expension matérielle at Atelierhof Kreuzberg Berlin 2014.
Conceptual drawing, the Lindwurm series
The series Lindwurm consists of three upright formats of 150x300 cm each. The basic form is a variation of three possible forms of snakes (L.I = horizontal lines, L.II = vertical lines, each line being different lengths, L.III = only circular lines). The width of this basic form was chosen so that according to these parameters, only one possibility for the design remained open: The basic coal forms are again found on a grid of graphite, within which two grid squares correspond to the width of the basic form. It is this standard width from which the most aesthetic liquefaction of the charcoal monochrome results.
Charcoal and red chalk on paper. fine art print, and pen on paper. 3 parts-work with an entropic character. 2x(40x40) cm and 300x300x5 cm.
(Conversion of a quote by writer Douglas Adams)
A constellation of twenty-three x twenty-three = 529 half-spheres on three by three meters wall surface. To the right and left of this central constellation hang two works of 32x32 cm.
Each element of homemade recycled paper is executed like a classic multi-layered monochrome. The blacks of several layers of groated coal and soot, the reds with homemade groated iron ore. The left work shows the plan of the hanging, ink on raster paper, while the right photographically shows the artist while creating the same plan, fine art print on laid paper. Of Joseph Kosuth’s everyday trinity of word, image and cause, becomes a creative unity of work, idea and artist. The unit, however, is of lesser duration, because the spheres are deliberately hung with inferior tape, so that they gradually fall off like ripe fruit, turn into an ephemeral installation that leaves the formalist language of the seventies and independently frees itself from the obscured, stringent , the mathematical plan of the artist, as an allegory of change, the constant renewal in art, transition into an unfathomable creative future.
