"Strax tillbaka" (Be right back), in collaboration with Meira Ahmemulic
2015, in Azaleadalen, Slottsskogen (park) Gothenburg
cat leash, black porcelain panther
Förstenad äggklocka, Modell idag/igår (fossilised eggtimer, Model today/yesterday)
Since 2010 ten painted eggs (made of concrete) are shown in the castle garden at Tjolöholm in the south of Göteborg,
initiated by the sculptor Per Agelii, Obviously at Easter. In 2014 I was the invited guest artist and participated with the "fossilised eggtimer".
WRITING THE MEMORY OF THE CITY /
DAS GEDÄCHTNIS DER STADT SCHREIBEN
(ger. & engl. edition), 2007, Dokument Förlag (for more info please click image)
Berlin, 10/06 - 11/07, Video, 22min.
The video shows an endless stream of passing trains running over a bridge during sunrise. The trains in motion are cut together no matter their direction according to their timetable.
stills from video
Stadtbild (city scape)
2004, Schlegelstraße, Berlin
bitumen on damaged insulation (styrofoam, concrete), 3m telescope arm, 5m ladder
In the beginning of 2004 I discovered the pictorial structure of an open insulation on a house that was being rebuilt in Berlin-Mitte. I prepared myself by sketching abstracts for the wall on photographs. The space between the two buildings would soon be closed with a new one. I had to wait for the exact time when the fundament of the first floor of the building was finished and its walls had not yet been erected. The work was only visible for two days. You cannot say this work has been destroyed. The fourth image shows the finished building, which "covers" the painting until this very day.
2005, underground station Rosa-Luxemburg Platz, Berlin,
spray paint, acryl on paper
This painted wordplay includes the letters LICHDUNKEL, which refers to the words LICHT (light) and DUNKEL (dark). If you speak both words as one, you skip the "T" ( as well as in english actually!). If you say LICHDUNKEL in constant repetition, it´s hard to say after a while if it means LICHT and DUNKEL or ICH DUNKEL; as the word starts and ends with an L. Suddenly you have the personal pronoun ICH (engl. "I" ) turning the adjective DUNKEL (dark) into a verb. Which creates the sentence: I am darkening. In the painting I also uplifted further words to be found in LICHDUNKEL as they are strengthen and expand the intended poetic moment: the personal pronouns ICH and DU (engl "I" and "you") as well as EL, meaning in the broadest scene "deity".
Stadtweben city weaving
Through Berlin based writer Akim_One I got in touch with the braiding of bushes and trees with wool in the public space of the city. Here the meditative as well as communicative aspect during the work - mostly at night - became the main focus, accompanied by the (artistic) designing and the composing work with the wool on the tree. 10 years after the first studies and works I return and continue with a new view.
Neuenhagen Island, Oderbruch, near Berlin, 2015
Berlin, Oderberger Strasse, 2004 (with AKIM)
Berlin,Straussberg am See, 2004
Wir sind die Tage / I want to (We are the days / I Want to)
wall paint, spray paint, marker
This work was developed within the exhibition “objects of comfort”. The abandoned building, at that time soon to be renovated, is part of a business and craft complex in the old royal brewery (1813) in Berlin–Prenzlauer Berg. Visitors would enter the "I want to"-room and could only stand on top of the staircase as it was forbidden to enter the stairs.
wir sind die tage für dich was willst du für uns sein / we are the days for you what do you want to be for us
I I D M M O R X
2005, in the basement of an old royal brewery, Berlin, in collaboration with Eric Winkler
material fishing line, plastic wrap, light diodes, wool, string, sand, water, bitumen, sound
The basic co-ordinates of the sculptural shape are up to the letters I, D, M, M, O, R, X . The work is less about the readability and more
about the staging of the letters. The letters were installed at the end of a dark room, where the only light deriving from the light diodes
served as orientation. The viewer had to dare to walk deeper into the room to discover the interaction of the works, walking through
sand and puddles of water. The rainwater running on the walls, painted with water resistant tar, became visible in the reflections of the
light. There was a minimal composed sound design influencing the already existing soundscape.
Harvest-Vegetationskontrolle-Rohschnitte (harvest - vegetation control - rough cut)
2007 - 2008, Berlin, Blankenburg / Mühlenbeck-Mönchmühle, Luleå (Sweden), 3 chapters of a process based work
In early autumn 2007 I discovered a wild apple tree between the tracks of the Deutsche Bahn located on the track section Blankenburg / Mühlenbeck-Mönchmühle in the north of Berlin. I harvested the apples and made apple marmalade with honey. On each of the 31 jars of marmalade there is one image, presenting the place of the tree, the harvest or the production process. I divided the recipe in 31 sentences and placed on every jar. The marmalade jars were presented on
a 12m long shelf in the exhibition “Let there be light” entitled “Harvest” in Luleå, in the north of Sweden. In the end of the exhibition the jars were offered as a present to take away.
09/2007 before harvest packed jars for Luleå presentation in Luleå Konsthall
In the course of the vegetation control of the Deutsche Bahn the tree got cut in the begging of 2008. Invited to an exhibition in the German Federal Ministry of Justice and the district court of Berlin, I reconstructed the apple tree in one of their backyards. On the 4th of July 2008, shortly before the end of the exhibition,
I cut the tree down again.
after pruning of the apple tree reconstructed apple tree
The audio document “Rohschnitt” (rough cut), includes recordings from between the tracks, where the tree originally got cut, and the sound of me cutting it down again in the backyard of the German Ministry. In the third chapter of the work I placed a Berlin map on a table together with a CD player and images representing “cut outs” of the course to date.
Presentation of “rough cut” at the KHB in the office of Prof. Berndt Wilde, 07/08
4,33 - ingenting att se (4,33 - nothing to see)
2015, Hammerkullen station, HK Konsthall, Gothenburg
spray can , marker, paint
Performance. One time alone, second time with participants from workshop. Standing still for 4,33 minutes with open spray can, marker, dripping paint on brush.
Bakom väggen (Behind the wall)
2011, Gothenburg, sound piece/performance in collaboration with Thomas Dahl
"Behind the wall" was arranged and took place in and around a specific apartment. The audience had to be in the living room. The nine persons involved performing the piece "played" the respective "instruments" according to the strict schedule of the score in the bedroom and bathroom, the kitchen and at six further locations outside of the apartment. At the beginning of the performance the audience received the score of the piece, consisting the information to be seen in image 1.
The windows in the living room were opened and a clock referring to the start of the piece was put up on the wall for everybody to see. The planned accuracy was certainly doomed to failure, especially since the planned noise blended with unplanned and got superimposed. Therefore, the arrangement was "difficult to grasp", but this risk was taken into account. The play was performed twice on the same evening.
Meira Ahmemulic, Oskar Dahl, Thomas Dahl, Filip Herbst, Dennis Hopkins, Charlie Lindström, Ingrid Nordström, Thomas Wiczak, Ammar Zafar
2005 – 2006, grey zone marketing project in Wuppertal (exhibition, website, book, film)
23 international artists with a background in Street Art and Graffiti writing were invited to the city of Wuppertal to develop a unofficial and unauthorized invasion ("exhibition") in public space. No permissions were sought for the artworks that took place in public space - as a part of the idea was to ”attack” the city of Wuppertal in order to maximize the media coverage.
I was one of two curators of this multimedia event, sponsored by Red Bull. The authorities of Wuppertal considered the positive international attention of the project more valuable then a lawsuit against a global company. Red Bull took credit for the event when publishing the project´s website, three months after the works were placed in the city. The website has been taken offline, but the start page is still available here: www.outsides.de. Further a book and documentary had been released as a way of spreading the project.
I was part of this event from the start, with all the necessary excitement and conviction, but decided to take it with Bertold Brecht in the end: The one who said “a”, does not have to say “b”. Before the website got published, I resigned from the project. However, beyond all doubts with respect to any "corporate street art attack", I personally consider this project as a valuable experience.
other Links: Swedish (Pictures: Wuppertal at night, view from a gasometer / Ticket)
2008, Gothenburg, (performance), paper, spray paint, diverse poster markers, clear lacquer, internet
I was invited to make an art work on the outside of a video container (6m x 2m x 2,5m) within the exhibition “SPOTCITY”, which took place in the centre of Gothenburg. The aim of the exhibition was to contribute to the public debate about the strict zero tolerance politics of Gothenburg´s public space. This also included the subtle censorship of Graffiti-Writing, meaning there were no legal spots to paint in the city. In this cultural as well as political context stands the aesthetic site of Sealand.
On four sides of the container I wrote stories about cats which by accident got locked up and shipped in containers. After several weeks of traveling without food and water, they arrive in a new and strange country, most of them alive. They get quarantined and if a neckband gives accordant details they are returned to their homes. A collage of various images of cats, container ships and harbors, container ship accidents, ebb, tide run around the whole container in an increasing “belt”. The stories and the images are taken from the internet from different sources.
I was stopped multiple times during the writing process and involved in many discussion, since people thought I was doing Graffiti in the middle of the day.
In summer 2009 I painted a two kilometer long dashed line, interrupted by large scissors, on a customs fence in Hamburg's district Wilhelmsburg. It took three nights. [The situation on site convinced me to give in to the pressure of the idea, as the painted motive is already a wellknown and therefore rather unimaginative intervention.]
Wilhelmsburg is located between the north and south shore of the Elbe river, a third of its population is under 18, equal to the proportion of foreign-born. The fence shields Wilhelmsburg from the water and has become a symbol of the Elb-ilands isolation from the rest of Hamburg. For years Wilhelmsburgs residents wanted to tear down the fence to open up a direct access to the river.
The district's sordid reputation as the "Hamburg Bronx" has faded and Wilhelmburg has been spotted as an area of "development potential ». So it came about that the district ended up in the eyes of the world when the international building exhibition project IBA Hamburg chose to locate their projects just in Wilhelmsburg.
IBA is a Germany-based urban planning tool that shall inspire to new impulses within urban development. They declare themselves and their program on the following manner, "International involvement of urban planners, architects and contractors shall develope international competition between IBA projects and work to raise the profile of Hamburg; as a region vibrant with exciting social, cultural and ecological initiatives. Contradictory interests should be reconciled and IBA shall work for a city's consensus - the good city – right in the middle of the urban incompatibilities. Hamburg looks ahead and attaches importance to expand, to take the leap into the future, and it is IBA that will prepare Hamburg for what is to come. The motto is: 'Projects for the Future of the Metropolis."
In summer 2009, I was invited by "Akademie einer anderen Stadt» - IBA's platform for art and the first IBA project on the Elbe island to involve area citizens - to hold a workshop on "public locations ». During my stay in Wilhelmsburg I conducted the work ”Zaun” (engl. fence). On my own initiative, illegal. Anyone visiting the Elb-Islands by bus or car passes the fence and can see the painted line.
Although the »Academy» curators were not involved in my work, they let it nevertheless gratefully happen. When the fence was presented publicly for IBA was it in the presence of representatives of the press. In that situation IBA had no other choice but to be positive about the work and the dismantling of the fence. [Including the way how it had been done]. It would later prove that it suited their plans for Willhelmsburg to tear down the fence.
During the summer of 2010 opened the fence in two places so that it now can reach the embankment. The rest of the fence they planned to take down during autumn 2013, [but it happened already in the beginning of the that year].
more info at mitwisser.net (german!)
City of Names
Berlin, 2005 group project
City of Names was the last project by Jazzsytlecorner e.V. . I participated as an artist as well as co-curator and co-organisator. The “city” was built for the first time in Gothenburg (Sweden) in 2004, within of the exhibition “Everwanting Streets”. The second “city” got build within the exhibition “Backjumps -The Live Issue#2” in 2005 in front of the Kunsthaus Bethanien in Berlin Kreuzberg. The conceptual idea and development of the project traces back to the writer / artist Thomas Bratzke and the artist / author Meira Ahmemulic
wood, roofing paper, bitumen, nails, screws, iron feets from Denmark, 8 pallets
In collaboration with the artist Daniela Nickau I built a bus stop in the City of Names. The organization of the material (see photos) can be taken as an example for the whole “city”, which mainly consisted of found material in the city of Berlin. In 2008 a book was published titled “City of Names” about a city constructed by three dimensional tags..
City of Names, Meira Ahmemulic in swedish language, March 2008, 128 pages, Glänta, ISBN 987-91-976842
ca.2000 – 2006
Jazzstylecorner is a collective and self organization mainly composed of Berlin Writers. Since the beginning of 2004 there is Jazzstylecorner e.V. (incorporated society), which founder member I am. 2000 to 2006 I participated and co-organized diverse, authorized and unauthorized, events in the public space of Berlin. Jazzstylecorner is about building consciousness inside of the writing culture as well as to translate and pass over the contents of the writing movement to the public. This ambition led us out from the familiar territory of Writing and into new situations and contexts, creating possibilities for dialogue and exchange while at the same time providing knowledge about a culture that is often considered inaccessible.
Images (from left to right):
- ONE (1), collaboration with Akim_One, the capitals O N E got filled with Berlin Writer names from A to Z (here A to F), 2004
- Tag session on foil, for swiss film project, 2005
- “the dissection of space”, group work at 720Grad Raum-Hopping, exhibition in diverse vacancies of BerlinWedding, 2004
- Berlin lacht” (Berlin laughs), cultural event, 2005
- part of the opening show for “the international sport competition”,
in the Olympic stadium, 2005
Markus Butkereit & Thomas Wiczak, Göteborg, 2015, Hammarkullen Konsthall
Markus Butkereits and Thomas Wiczaks work deals with the specific situations of Hammarkullens tram stop and the limitations set up for artistic interventions in a semi-public space. As a result they have developed site-specific works that deals with the characteristics of the station and its architecture. It is a playful approach that invites people who pass the tram stop in their everyday to consider the space in a new way.
We explored the space and deleloped different works both in the spirit of Markus Butkereit´s and mine working approach (at that time).
We developed four different works: TIRES, BLACK BOXES, PLASTIC BAGS and IGENOM.
TIRES (MB & TW) was performed and recorded during the night when the underground tram stop was closed and shown during the exhibition period on a seperate monitor at the station. BLACK BOXES (TW) became a sound installation. Inside of the big boxes, usually used to exhibit objects, I placed loud speakers. The glas was painted so on could not look inside. A three hour long loop played different sounds and music. PLASTIC BAGS (MB) was also performed during the stations closure time at night and even had to be removed before the traffic started again. Accordingly there is only photo evidence. In IGENOM (TW), see pictures below, I connected both windows by using plastic foil, creating a site specific, sculptural moment.
Material/ 3 tires, 3 escalators
Thomas Wiczak & Markus Butkereit
2015/ Göteburg/ Sweden
(for more info click on image)
BLACK BOXES (Thomas Wiczak)
sound installation, differents sounds and music randomly played in three hour loop.
PLASTIC BAGS (Markus Butkereit)
sound installation, differents sounds and music randomly played in three hour loop. (for more info click on image)
Berlin, Volksbühne, 2004