Oriental

Orientalist at Schnell & Schmutzig

Exhibit a groupshow Schnell & Schmutzig, Gaswerksiedlung Berlin, 2018. Site-specific installation from the series Orientalists, 2011, Laser copies glued on the wall. How do we perceive people from the so called different world? Which images have been created for us?

Orientalist at Schnell & Schmutzig

Exhibit a groupshow Schnell & Schmutzig, Gaswerksiedlung Berlin, 2018. Site-specific installation from the series Orientalists, 2011, Laser copies glued on the wall. How do we perceive people from the so called different world? Which images have been created for us?

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Grids | porcelain

Experimental study of transferring the paper grids into the more haptic and sculptural material of porcelain. Related to the processing of china: drying (shrinking), firing and placing the objects start (slightly) unfolding towards the surrounding space. To be continued.  

Grids | porcelain

Experimental study of transferring the paper grids into the more haptic and sculptural material of porcelain. Related to the processing of china: drying (shrinking), firing and placing the objects start (slightly) unfolding towards the surrounding space. To be continued.  

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Orientalists

On the pitfalls of the precalibrated gaze. Reproductions of anthologies on the art of the “Orientalists” dating from the turn of the 19th to 20st century are again reproduced in parts, enlarged, some of them rasterized, and reassembled in b/w photo-copies.

Orientalists

On the pitfalls of the precalibrated gaze. Reproductions of anthologies on the art of the “Orientalists” dating from the turn of the 19th to 20st century are again reproduced in parts, enlarged, some of them rasterized, and reassembled in b/w photo-copies.

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Grids | paper

What happens to the view(er), when everything seen refers to it/him/her (as point of origine of the central perspective), in relation to a gaze that wanders, is stopped by an ornament and can then turn toward the “beyond” the grid?

Grids | paper

What happens to the view(er), when everything seen refers to it/him/her (as point of origine of the central perspective), in relation to a gaze that wanders, is stopped by an ornament and can then turn toward the “beyond” the grid?

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Visibility Conditions

If we only ever saw what we thought, or thought what we saw, how would that be different from now? We think more than we really see, and we feel less too, because there’s so much we have to know.

Visibility Conditions

If we only ever saw what we thought, or thought what we saw, how would that be different from now? We think more than we really see, and we feel less too, because there’s so much we have to know.

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Doner in the East

In 1994 I moved to Weißensee, a former Eastern part of town. Turkish classmates, business- or doner stand owners had been familiar faces all the years before. But at this time there were no Turkish people in Weißensee at all.

Doner in the East

In 1994 I moved to Weißensee, a former Eastern part of town. Turkish classmates, business- or doner stand owners had been familiar faces all the years before. But at this time there were no Turkish people in Weißensee at all.

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Jubilee

Jubilee

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Oriental Black | Icon

Turkish marble (trade name: Oriental Black) in cinemascope format (2.35 : 1) mounted to the wall, treated with turkish rose-oil and lit by theatre spotlights. Soon to be translated. Stefka Ammon untersucht kulturelle Projektionen und mediale Mythen in Wort und

Oriental Black | Icon

Turkish marble (trade name: Oriental Black) in cinemascope format (2.35 : 1) mounted to the wall, treated with turkish rose-oil and lit by theatre spotlights. Soon to be translated. Stefka Ammon untersucht kulturelle Projektionen und mediale Mythen in Wort und

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