KUNST
Die meisten meiner Arbeiten sind performative Handlungen. Einfache Dinge, die sofort stattfinden können. Oft werden die Handlungen und Situationen nur durch kurze Texte dokumentiert. Einfache Handlungen, alltägliche oder beiläufige Gesten. Leichte Verschiebungen. Spontane Sofortmaßnahmen, die in den normalen Lauf eingreifen. Eine bedeutungslose Berührung oder eine handfeste Verwicklung. Ein harmloses Wort oder eine Provokation. Es ist zu tun, was zu tun ist.
Die entstandenen analogen und digitalen Teilwerke werden in der Augmented Reality zusammengeführt, virtuelle Anteile mischen sich mit der realen Wirklichkeit. Das heißt, einzelne Arbeiten werden mittels der Augmented Reality durch Objekte, Überlagerungen oder Effekte erweitert und wieder in die reale Welt integriert. So können zum Beispiel direkt durch den Handybildschirm (mobiles AR) Elemente angezeigt werden, die sich auf die reale Umgebung legen. Dies lässt im Zusammenspiel mit Konzepten der Performativität eine Form des digitalen Storytellings entstehen.
Dabei spielen sowohl in der realen Welt als auch in der digitalen prozessorientierte Handlungen genauso eine wichtige Rolle wie Kooperation und Vernetzung. Die eigene künstlerische Praxis nehme ich dabei als Ausgangspunkt, wie ich selbst vermittelnd tätig bin (künstlerischen Vermittlung).
Performance
studio stupido
2022
An empty room. Playing chess. You go in, I wait outside. You come out, I go in. I play my move, I answer you, I go back out. You go back in. Sparring 24 hours. Move by move, minute by minute, hour by hour.
You don’t need a studio. We discussed and explored the possibilities and responsibilities of the atelier. The atelier is not a safe space. It’s a play space and by playing the safety reveals itself to be 95% ideologically driven nonsense. Artists must play dirty. Therefore the atelier is not a laboratory. Itsequipment must be desterilised. Studio Stupido- in tasks created for each other we explore and challenge the limits of largely poorly written artist personas of our times by overacting them in the (digital) public - posting embarrassing statements and awkwardness into the clean world of curated and self censored Instagram pages. We go to the pub and rearrange the guests to resemble more a painting. Everything is art. You have to follow its rules. This is playing. This is our studio.
TO SLEEP THAT NIGHT
2022
I travel to the places in your paintings - your past workplaces. I linger there for an hour, exploring and moving around in this space. It is another space, no longer your space. What remains is a drawing of my work in yourformer workspace.
GOING FOR A WALK NOW WITH MY MOM
2021
We‘re walking and talking. Memories are compared. What is heard, seen and read are exchanged. Your own thoughts and those of others are reconsidered, rethought, redesigned and negotiated. What are you doing?
TO DAY, TOMORROW, YESTERDAY
2020
Performance on 22. february 2020 as part of FIEL FU
KUNFT von René Haustein
duration: 2.01 hours
Galerie Januar, Bochum-Langendreer
“I am lying on the floor talking about problems. Small, big, old, new. I’m just staring at the ceiling, what do you think?”
I WILL HANDLE YOUR MONEY WELL
2018
since 2016 continuous performance of different duration
Last unannounced at random locations (exhibition rooms in off-spaces, art associations, galleries and museums): Bode-Museum, Berlin on May 25, 2018.
Ich gehe mit einem einfachen Pappschild durch Räume, Gänge und Treppenhäuser. Auf dem Pappschild steht: Ich werde mit Ihrem Geld GUT umgehen. Ich sammle Geld und entscheide später, was ich damit mache.
THANK YOU (for sharing with me)
2018
2018, Köln
performance, 43 min.
I’m sitting outside at a table in a cafe. I put together a long straw out of several straws. I then try to drink from the cups of neighboring tables without being noticed.
I NOTICE YOU AND MAYBE YOU NOTICE ME
2018
2018, Münster
performance, duration: 107 min
I walk through the supermarket and take the deposit bottles out of the shopping carts of random customers. With the deposit bottles I go to the return machine and exchange them. I bring the deposit note back to the shopping cart from which I took the bottles. Some notice me and other don’t.
MINDSCAPES
2021
HAPPY HOUR
2015
Kunstakademie Münster, 2015
VART CENTER, Shanghai
WELTKUNSTZIMMER, Düsseldorf
performance, duration: several hours
I sit in my chair for the entire duration of the ex- hibition and wait for you. You sit in front of me at exactly the right distance and listen to unfor- gettable things from my life. I speak without stopping at a fast pace.
münster
DomInIkanerkIrche
Münster, Domminikanerkirche, inner space
2016 performance,
duration: 3,5 hours
Ich setze einen Fuß vor den anderen und vermesse den Kirchenraum. Ich fange bei den Kirchenwänden an. Wenn ich eine Reihe beendet habe, stelle ich den linken Fuß neben den rechten Fuß und beginne von vorn und höre erst auf, wenn ich die gesamte erreichbare Wand- und Bodenfläche der Kirche vermessen habe. Ich verrücke Stühle, klettere über Hindernisse und Menschen.
2016
telephone book
Since 2013,
duration: variable
material: telephone book (Münster/Warendorf),
Iphone
I call all the phone numbers entered in the phone book once in chronological order. When I reach the person, I tell them that they will be deleted from my phone book. The numbers that are busy or unanswered remain as unmarked gaps. The work ends with the last name in the phone book. This can take weeks, months or even years.
ongoing
Italien, Venedig, Calle Largo XXII Marzo
Venice, 2014
performance, duration: 17 min
I walk across the square in the middle of a group of people. I start singing loudly. I cannot sing. What I sing are scraps of songs that don’t belong together. The people in the group look at me and some sing along loudly. We walk together across the square. At the end of the square I leave the group and continue walking.
OVERCOME INHIBITIONS AND DARE TO DO SOMETHING
2014-2016, Osnabrück, Münster, Braunschweig and Köln
performance of different duration
Sometimes I stand on a street corner - maybe in Rulle - and notice how my fingertips start to tingle. The feeling slowly spreads from my fingers and takes hold of my whole body. A small impulse then produces a simple action. It could be a child nibbling on his toy and thoughtfully spreading his spit on his clothes, or the sugar quietly trickling onto the round table in front of the snack bar.
Suddenly the action is there, and I don't realize until later that my hands are pouring out the sugar jar on the table, and I - just as the child keeps slapping his slobbered-on toy on the frame of the stroller, only to put it back in his mouth - am sticking out my tongue and licking up the spilled sugar, little by little, and my tongue is touching the table over and over again. Without me thinking about what's happening. It doesn't matter who touched the table before or what else happened to it. I don't perceive all that at that moment. I only feel the urge to perform this action immediately. Afterwards, it is as if nothing had happened, and it doesn't matter what other people think.
It takes overcoming and courage to dare and try things, no matter how small or big they are. These can be simple things like open communication with strangers or even jumping off a 3-meter board. I would like to practice overcoming with you in a personal discussion about conversations and about actions resulting from them.
30. MAI, 14:59 UHR BIS 16:41, 5,9 KM, MÜNSTER, 56 PERSONEN
Venice, 2014
performance, 102 min.
I walk along Studtstraße, Finkenstraße, Heerdestraße, Kleimannstraße, Promenade, Schlossplatz, Weselerstraße, Blumenstraße, Weselerstraße, Moltkestraße, Marks-Haindorf-Stiege, Weselerstraße, Wilhelmstraße, Orleans-Ring and Horstmarer Landweg, in Münster. In doing so, I stand in front of the people I meet, look them in the eye, touch individuals and tell them what I feel when I meet them.
ENGLAND, SCARBOROUGH, NORTH BAY CLEVELAND WAY
2013, Scarborough
performance, 2´35 min.
I start building a sandcastle and all the time I keep looking at a family that is nearby and also building a sandcastle. A competitive situation builds up, which is controlled only by my glances. The family starts to build their castle faster. In the end, I get up and walk away. The children come running and trample my castle.
CRANGE-WANNE, LUTHER CHURCH, EVANGELIC CHURCH COMMUNITY, CONFIRMATION CHURCH
2013, Wanne-Eickel
performance, 21 April 2013, duration: 1,03 hours
I sit on the bench in the church and look at people who interfere with the sound of the church service through the use of cell phones and cameras. Whenever one of these noises becomes audible, I acoustically amplify another sound that is generated by people around me and imitate it. That can be the shuffling of feet, a sneeze or a cough, anything audible.
