Installation view Museion Bozen / Bolzano

 

from left to right: “Die Verdammten der Taiga” “Eine glückliche Ehe” “Liebe ist stärker als der Tod”

“Die Verdammten der Taiga”
 

“Liebe ist stärker als der Tod” (in background Mona Jas – Dinge)
 

“Eine glückliche Ehe” (Detail)

Proposal
Competition Neons FMAC Geneve

The concept of the piece is to combines the word with a specific font (Museo Sans) and a visual appearance that supports the word in its meaning. And on the other hand makes absolutely clear that this word is not an commercial advertising.
The support and the difference is the light level spread out by the piece. While an advertising is normally as bright as possible this piece isn’t. The meaning to be completely “mou” or  “á plat” forces the sign to glow on a minimal – but viewable – level.

By installing only one strip of neon inside the letters (normally 2-3 lines) the piece will be  on a reasonable visibility level during the night, but will never compete with the other  signs installed around the Plaine de Plainpalais.

The simple and beautiful word seems to come directly out of a comic in its onomatopoeic
form – but is in fact much older. The oldest source in literature (according to “le Trésor de la Langue Française”) is the book ” Ces bons docteurs!” written by Gyp (Sibylle Gabrielle Marie Antoinette Riqueti de Mirabeau) in 1892.

Soundinstallation
in collaboration with Zeena Parkins

In a first collaboration New York composer and multi-insturmentalist Zeena Parkins and Berlin artist Holger Friese present the new sound based installation SG / SD. The project offers a reflection on Kristallnacht: the night of broken glass, Nov 9th 1938. The horrific actions of this night, marked the beginning of the systematic persecution of the Jewish community.

The project offers a reflection on Kristallnacht: the night of broken glass, Nov 9th 1938. The horrific actions of this night, marked the beginning of the systematic persecution of the Jewish community in Germany and Austria.

The focal point of the installation is a vinyl recording produced by the artists.

Side A: Ekhe? a sonic meditation by Zeena Parkins based on field recordings made during a trip to Berlin in Spring, 2010. Zeena recorded sites in the city where in 1938 synagogues once stood, marking the existence of a vibrant Jewish community. Synagogues burned down during Kristallnacht and demolished in the years after, are now often occupied with a very different kind of life: Parking structures, playgrounds. apartment buildings, grocery stores. Seventy two years later, most synagogues are gone, with only memorial plates, to save them from total obscurity.

The acoustic presence of the original site is now disfigured or rearranged. Does some identifying sonic molecule hang stubbornly in the air, defying time and these horrific acts of violence? Perhaps there is nothing more than a simple and brutal non-existence that permeates this absence. Zeena Parkins investigates and reflects upon the acoustic traces of some of these synagogues destroyed on Kristallnacht. All that is left are the most ordinary city sounds of 21st Century Berlin, in which Zeena seeks to unearth the sonic ghosts: an echo, a memory, a deliberate reverberation, to this terriflying night.

Side B: 13 soundfiles cut as loops; Sine waves, gradually stepping up from 3300 Hz to 4500 Hz, each file represents one year of the Nazi regime (1933 – 1945). Holger Friese installs13 manipulated smoke detectors under the ceiling that are triggered by the movement of the visitors in the room. These disturbance tones make an unconvenient overlay to Zeena Parkins’ composition. The sonic short notices reflects behaviour of German bystanders during this night of destruction. The malicious arson carried out by SA/SS members was accompanied by clapping hands and a cheering crowd.

The almost empty main gallery room pushes the vistors into a dense and sometimes disturbing sound experience. Emptiness means here, the possibility of space and time for a reflection about the pogrom night.

In the small gallery room the needed technial equipment is visible.

14 record players in one row with endless spinning records – 13 at a speed of 33 rpm and one with 45 rpm.

Here we have come full circle with the representation of a roll call performed by second hand „soldiers“ bought on ebay.

microscope views vinyldisk

fieldrecordings

video

Lightanimation for one 100W bulb (divided one minute with the golden ratio) – Sololala Festival Berlin

stage with bulb matrix (photo: Gregor Holtz)

Open call from Rut Waldeyer and Florian Bach via LCedit mailinglist

concept:
In frame of the the Sololala Festival which will happen from the 2nd to 6th december in the Sopiensaele in Berlin, we are planning to call Lanbox user around the world to a light design contribution for our 64 Solo Bulb Matrix.

The Sololala Festival will present 5 Saxophonists (Evan Parker, Joe McPhee, Thomas Ankersmith, Antoine Chessex,…) and 5 Works of Alvin Lucier performed by Antonia Baehr, Fernanda Farah, Yvonne Harder, Adeline Rosenstein and Steffi Weismann, every evening a double feature of performance and solo saxophone.

As a light design for the whole festival we will us an object hanged over the stage made out of 8×8 100w standard E27 bulbs organised in a 5 x 5 m square grid.

We would like to call the Lanbox user’s to take part to this project by writing a solo for one bulb. Please send us a 1 channel Cuelist up to maximum 98 steps.
Only one limitation is asked: the bulb intensity mus’nt be higher than 70% (180 in 16bits).
Time and action are completely free.

other participants:
Peter Freeman (UK), Jan Fedinger (FI/NL), Maika Knoblich (D), Jan van Giesel (B), Conrad Noack (D), Mona Jas (D), Bruno Pocheron (D), Florian Bach & Rut Waldeyer (D)

Dummy Head Recording
in collaboration with Mona Jas
produced for the exhibition “Zeigen” – curated by Karin Sander

Recording at Temporäre Kunsthalle Berlin

Produziert für die Ausstellung „Zeigen“ in der temporären Kunsthalle Berlin. Die Arbeit basiert auf dem Konzept der Videoarbeit „Schwarz und Weiß“. In einer räumlichen Kunstkopfaufnahme werden die in der Originalarbeit nicht hörbaren Sätze „Alles ist Weiß“ „Alles ist Schwarz“ durch 20 Sprecher in ihren Muttersprachen (Russisch, Amharisch, Französisch, Deutsch, Türkisch, Hebräisch, Englisch, Dari und Mandarin) gesprochen.

with:
Lilia Voronkova, Oleg Pachenkov, Seyoum Mulugeta, Carine Moulun, Christoph Wiesner, Nesrin Abdulla, Salahaddin Abdulla, Mona Jas, Holger Friese, Gülten Erol, Habip Karatas, Barak Bar-Am, Alona Rudnev, April Elisabeth Lamm, Nick Crowe, Nuschin Mameghanian-Prenzlow, Özgür Albayrak, Hui Zhang, Fei Shan.

in collaboration with Mona Jas
DV-Video presented as a “virus” in the public WLAN / intervention on public ground

Farbig gesprühte Kreise auf dem Boden der Straßen und Gehwege markieren in der Bieler Innenstadt von der Eröffnung der Ausstellung UTOPICS im August 09 bis Ende Oktober neue Territorien, innerhalb deren unser Film “Les mèches en ligne” zu sehen ist.

Die Kreise kündigen jedoch keine zukünftigen Bauvorhaben an, sie sind zeichnerische Interventionen. Sie markieren die Bereiche, in denen BesucherInnen der 11. schweizerischen Skulpturenausstellung einen Film von Mona Jas und Holger Friese im offenen WLAN empfangen können. Das offene WLAN in Biel ist – auf der technischen Ebene – in eben diese verschiedenen territorialen Zonen aufgeteilt. Diese Zonen sind normalerweise unsichtbar, sie bestehen aus elektromagnetischen Wellen.

Vom Zentrum der Sende/Empfangsantenne aus werfen sie einen unsichtbaren Kreis, der mit zunehmenden Abstand schwächer wird und irgendwo abreißt. Die Protagonisten des Videofilms sind, im übertragenen Sinne, auch Zentren der öffentlichen Kommunikation.

Wir haben Friseursalons außerhalb der Hotspots ausfindig gemacht und lassen uns in diesen unterschiedlichen Salons am Rand der neustrukturierten Innenstadt vor laufender Kamera die Haare schneiden. Die gewählten FriseurInnen betrachten wir als urbane Experten, an deren Erfahrungsschatz wir teilhaben möchten. Auch referieren wir auf die generelle Funktion von FriseurInnen als GeschichtenerzählerInnen, möglicherweise als letzte VertreterInnen einer aussterbenden oralen Tradition. In unserem Projekt „Les mèches en ligne“ fokussieren wir daher gezielt Salons mit einem gewachsenen Kundenstamm. Somit beziehen wir uns auf die Figur des klassischen Friseurs als Zuhörer und Erzähler.

Im Gespräch möchten wir herausfinden, wie die Menschen der jeweiligen Bieler Viertel die Veränderungen der Stadt wahrnehmen und, wie sich ihr Alltag dadurch modifiziert. Sichtbar wird dieser so produzierte Film direkt nach dem Starten des Webbrowsers in einer der Zonen.

Der Film ist auf der Loginseite als Overlay zu sehen. Nur wer sich in einer der markierten Zonen einloggt, hat die Möglichkeit den Film zu betrachten. Somit werden die unsichtbaren Funk-Territorien des WLAN zur Erfahrung und die Protagonisten des Films besetzen die virtuellen Territorien mit Geschichten aus den Straßenzügen, die sich um das Zentrum herum ereignen.

Produktion: Utopics

„Clash Hairstyle“ mit Michael Jalon, in „Coiffeur Tania“ mit Tania Santulli, im „Coiffeur Sporting“ mit Pino Margarito und in „Miss Ivoire“ mit Raymonde Grah-Meusy.

images taken during our reseach april 2009
Article Berner Zeitung
Article Berner Tagblatt
TV feature SF1

map with marked hotspots

wiping away the chalk used to draw the circles

Installationviews

The proposal takes the term “second skin” very literally. I propose to attach a structure to all walls that holds – in a defined distance – a duplicate of the given architectural structure. This second layer around the building is made out of latex (or another highly flexible material). All doors, windows and gates are cut out and stay fully functional. Air will be blown in the space between the concrete walls and the second layer. The latex skin will inflated and the complete building will change dramatically. The perpendicular structure will transform into something more natural. The air will find its way to large areas that will inflate to large bumps and smaller areas that will only get out of square. The building that is visible for the neighbors and passer-by since many years will be transformed into something new and spectacular.

The flexible skin that can act or interact with the work of the pumps inside. A connection between the water flow rate and the pressure of the balloon skin is one option. Or the building can breathe and pretend to be alive. Or a combination of both: The building breathes faster or slower in connection with the water flow rate. The more the pumps are forced to work, the heavier the house must breathe.

To avoid the connotation of a fat house – aka to transform the building into something human – the color of the skin is important. The pink selected for the model seems to be a good choice, it gives the alien touch – with no chance for misinterpretations.

model inflated by human breath

competition website
download presentation boards (PDF) english 11 MB
download Dawntown Briefing (PDF) english 4 MB
Erwin Wurm’s Fat House
Article Miami Herald

Images model

see breathing movie (Mp4 3MB)

Images building

A sign that tells you it’s a sign. The signal send from this advertisement to the receiver is useless, the message has no novelty. The artist did steal the novelty by choosing the term. As an advertising object this object must fail – because the “message” is missing. It only superimposes the fact that we are surrounded by signs, regardless if we like them – or even if we want to see them.

During the day (when the piece is off) the letters will reflect the sky and can be seen as an discrete object of beauty. Not a crying sign in aggressive colours, not a technical neon object with a sometimes ugly visible metal supporting structure. Just a mirror of the sky with the possibility to see a the reflection of a bird or a plane passing by.

After sundown the internal white neon elements will be switched on. Thus the mirror used for the screen is semi transparent the emitted light will be visible. Eleven bright letters on top of a building, still without a novelty. Only the car driver – standing at a red traffic light – gets the useless information “Yes, we do have traffic lights in Geneva”.

But on the right hand side a cryptical fr | it | de | rm | en sign also illuminates. After a while four of those letter combinations goes off and the big letters start to do something – a communication process starts.

Words in French, Italian, German, Rhaeto-Romanic and English are displayed. The four official swiss languages and for the tourists English. The silly word “SIGNALISATION” mutates to – NATION – SANG – SAAT – STILLATION – LAIN – STAGNO – SALAT – ALATO – STILL – SINON – SALIT. The attached language indicator helps the viewer to read the words. The partly visible advertisement now distributes novelties.

The display of words follows a system. First on display are all words contained in the french term “SIGNALISATION”. After a short pause a selection of words will be displayed that start with the letter “S” and can be written with the available letters.

Those words must be recombined by the viewer. To support the viewer the sections – if possible in syllables – are joined with a dissolve between the sections / single letters.

If the viewer miss it – or simply doesn’t understand the language – the sign acts as a sick sign. For example the french word SANG – blood is displayed in two sections “SAN” followed by a single “G”. The sign will look like the letters are going mad, which is an effect that might also be intended.

The languages are separated by moments of “silence”, where the viewer can only read the term signalisation. The complete loop over all languages will have a duration of 30 minutes and will repeat till sunset.

download proposal (PDF) english

Animation stills

see movie (Mp4 4MB)

Detail – language indicator

SIGNALISATION

Each tank will be transformed into a canvas, which will host a portrait image of a well-known personality. The image will not be painted in a photorealistic manner; it will be stripped down to a fairly abstract level. In four quadrants around the tank one is able to see the same image in four different image resolutions.

Referring to digital images, which are always based on pixels (aka Picture element – the smallest unit of a digital image, it holds only one color value in a square) the surface of the tanks will be divided into a grid of squares.
The four stages will show an evolving series starting in the quality of a color field painting, progressing to the status of a passerby stating, “This must be a portrait.“ and ending at a resolution where one can identify the name of the person.

The last two stages are based on two parameters. The first is given by the location. The viewer is able the see the tanks from rather far distances. The second is based on the original image material – carefully selected by the artist. The images are part of the American „collective image memory“ and therefore it is possible to recombine the image from the seen squares and the images „stored“ in the brain of the viewer.
The system of four stages per personality only works as a concept for the sides of the tanks. The tops, which can be seen best from an airplane or in digital via Google Earth will be treated in a slightly different form. The tank tops are divided into groups and the personality spreads out over one to four physical objects. In this way, the images of faces will come into focus from a bird’s eye view.

List of portraits:

tank #42 Samantha Smith

tank #118 Leon Leonwood Bean
tank #13 Harriet Tubman
tank 14 Benjamin Franklin
tank #105 Martin Luther King
tank #5 Thomas Edison
tank #28 Amelia Earhart

tank #111 Susan B. Anthony
tank #42 Milton Bradley
tank #118 Molly Spotted Elk
tanks #13, #14, #105 EB White
tanks #112, #113, #114, #207 Rosa Parks
tanks #102, #103, #101 Harriet Beecher Stove

tanks #111, #28, #5, #4 Marsden Hartley

Competition website http://www.artallaround.com
Maine Center for Creativity http://www.mainecenterforcreativity.org
plan for tank #105
location at Google Maps
and the winner is…

Test with projector

Overview

Sprague Energy Corporation overview

Proposal images

proposal view B (full scale)

proposal view B (full scale)

proposal view C (full scale)

proposal view D (full scale)

The project for the Axel-Springer-building in Berlin is based on images of talking mouths. On the screen on top of the tower block, two mouths can be seen from the distance. After a while it is easy to discern what they are pronouncing, even though it is inaudible – they say "everything is white" and "everything is black". These contradictory statements are spoken by two mouths directly next to each other, in a continuous sequence: first a woman says, "everything is white", next to a man who says, "everything is black"; then there is a change, and the woman says, "everything is black", while the man says, "everything is white". The film shows a part of the faces, but focuses on the talking mouths, and thus the information about gender and race of the speakers remains transparent.

The words can be ‘seen’ in nine different languages: Amharic (Ethiopia), Russian (Russia), French (France), Arab (Morocco), German (Germany), Turkish (Turkey), Hebrew (Israel), English (New Zealand/UK), Dari (Afghanistan) and Mandarin (China). In each case, the two people are native speakers of either sex. Each language has a time frame of about 30 seconds. The movements of the lips and mouths are so clear and concise that each viewer of the same linguistic area can easily perceive the statements.

The fact that the language cannot be heard and the process of speaking is ‘only’ seen incites the viewers’ curiosity and they want to know, what is hidden behind this film. Thus, the usual communication structures are prised open, and through the simplicity of the piece’s conception, the viewers are at liberty to fill them with meaning of their own, with their own thoughts and feelings.

Shown on a prominent and widely visible press building in Berlin, the piece also refers to the necessity for truth in the news industry. It is a contemporary urge to prove the truth with facts, and the contradictory statements – "everything is white" and "everything is black" – create irritation and are open to a wide variety of associations. One can surely associate the conclusive "in black and white" of the printed media. Yet, other points of reference could be various political disputes. In the complex conflicts of the Near East for example, it is difficult to say, whose record is all white and clean.

3 films (2016 x 160 px), durations: 01:29 min, 01:40 min, 01:28 min

Location: Axel-Springer-Building, Berlin – until 30.11.2007

Curated by Annika von Taube / sleek magazine

download (PDF) german
press release Sleek magazine (PDF) german

Images / Films

stills film1 / see wmv (8,7 MB)

stills film2 / see wmv (11,5 MB)

stills film3 / see wmv (8,8 MB)

Der gezeigte Bücherhalter vereint 3 Elemente, die sich alle auf die Netzarbeit "www.antworten.de" 1997 Holger Friese & Max Kossatz beziehen. Das horizontale Stück Holz kann als Entwicklungsachse gelesen werden.

Die Idee zu "www.antworten.de" entstand in New York bei Russ & Daughters, Einem "Appetizer" Geschaft in der Lower East Side. Beim Betreten den Geschäftes muss der Kunde eine Nummernkarte ziehen und auf seinen Aufruf auf einem Display warten. In dieser Wartesituation entstand die Idee zu "www.antworten.de".

An der Stirnkante sind mittels einer Büroklammer 2 Fotos angebracht. Sie zeigen zwei Innenansichten von Russ & Daughters. Auf einem der Fotos ist ein rotes Plastikgehäuse zu sehen, dem Spender der Wartenummern. Auf dem zweiten Foto ist auf der rechen Seite unscharf im Hintergrund die zweistellige Digitalanzeige zu erkennen,

Das Display auf der Website ist an das Original Display angelehnt. Wir haben damals Bagel, Caviar Creamchesse und Lachs eingekauft.

Die Internetarbeit wurde im Anschluß an den Einkauf binnen weniger Stunden programmiert und online gestellt. Hinter den Fotos ist leise die Originaltonschleife der Website zu hören.

2004 wurde die Idee geboren die flüchtige Netzarbeit in Buchform zu konservieren. Zwei Jahre später erschien das Buch im Verlag "The Greenbox".

Altholz, MP3 Player, 2 Fotos 9x12cm , Buch

see also: www.antworten.de, 1997
www.antworten.de, artistbook, 2006

Images:

Russ & Daughters, NYC (Display on right hand side)
copyright: "Paul_S" (found at www.flickr.com)

Russ & Daughters, NYC
copyright: "I_like" (found at www.flickr.com)

search for more images at flickr

The website www.antworten.de – a pioneering work of net.art, and the first Internet artwork to be sold in Germany – is transitory. This work, conceived by Holger Friese and programmed in collaboration with Max Kossatz, could one day – when new programming standards emerge or the Internet disappears – no longer be available; data will then be lost or no longer readable with existing programs.

This book aims to redress the problem. In the traditional and durable form of printing, the website’s program is now published and annotated. Each image, each code from www.antworten.de is presented in digital form, as a notation of the programming sequences. Furthermore, each separate part is described so that a future programmer could reproduce the work with an identical surface. The short melody is written in notes; the colouration of the countdown digits is captured pixel for pixel.

www.antworten.de is an analogue conversion of the website www.antworten.de thus making the web-art of www.antworten.de for the first time fully virtual. The work becomes a thought-game that (almost) anyone can reproduce. The documentation finally makes clear what constitutes this work; the focus is on the mediality and functionality of the individual parts.

Publisher: The Green Box

Holger Friese & Max Kossatz

www.antworten.de
96 pages, ca. 20 Abb.
165 x 200 mm
soft cover, thread-stitching
German
ISBN 3-908175-15-1

download sample (PDF) german
weblog Max Kossatz
see also: www.antworten.de, 1997
www.antworten.de, Buchhalter, 2006

In the uncut 17-minute version, the film shows events in front of the McDonald’s in the Hadaba section of Sharm El-Sheikh on the Sinai peninsula. The film was made two days before the bomb attacks in July 2005.

The managers of the American McDonald’s chain developed a sales strategy of transparency in the mode of production and in hygiene, as well as of the economically efficient (because it increases sales) self-service as the trademark of their company. In this regard, their branch in Hadaba – in an inconspicuous twostory building with closed shutters – can almost not be identified as a McDonald’s.

The fast food restaurant is hidden, earning its profits solely with home delivery, i.e. the opposite of self-service. The only identifier of American gastronomy is the McDonald’s logo on the trash cans, which are visited by roaming animals, and on the advertising spaces on the delivery boxes attached to the company’s Vespas. An employee wearing a traditional Djellaba, probably the building custodian, leaves the house several times and then comes back. In the courtyard, he carries out the ritual cleansing before going to the mosque. A young employee wearing a McDonald’s uniform leisurely prepares his departure, obviously to deliver a freshly prepared order. The Vespa is ready to go after several start attempts. Then he polishes his helmet and cleans his vehicle to free it from the desert sand. Finally, he drives away.

We notice that the paths of the two employees cross several times without them making eye contact. Animals continuously run to and fro in front of the building. Taxis, a tourist bus and other cars cross the screen. Various pedestrians, some of them on the way to the mosque on the other side of the street, pass by. The muezzin from the mosque (which is beyond our view) can be heard calling to the fourth of the five daily prayers.

Independent of this and acoustically separate, the soundtrack “Mix” can be heard via a remote headset for somewhat over 15 minutes. For 14 minutes, actress Megan Gay reads aloud various informational texts and advertisements from tourist brochures about Sharm El-Sheik. In the final minute, a song from the Egyptian mizmar baladi ensemble can be heard.

A further element is a tower of three stacked stones on the floor of the exhibition space. In the Sinai Desert, such towers mark the junctions for the residences of the Bedouin families that establish themselves there. The stones in the exhibition come from Europe because Egypt has a general export prohibition not only for shells and corals, but also for stones and sand.

two documents on wikipedia about Adhan and Salah

Still images

see film (excerpt 5min – mp4)

Stonetower

Photographs

Die Universität, als Institution der Wissensvermittlung und -vermehrung, ist ein Ort der Lehre und des Studiums, der Forschung und der Kontemplation. Hort des Wissens ist hierbei die Bibliothek; sie ist das zentrale Archiv, das die derzeitigen und vorangegangenen Wissensstände versammelt und sie zugänglich macht. An keinem Ort wird die Vermittlung von Wissen so anschaulich wie hier; die Arbeitsplätze zwischen den Regalen dienen der Aneignung der in den Beständen enthaltenen Informationen und über die Ausleihzentrale verbreiten sich die Bücher an die Forschenden in der ganzen Region.

Messbarer Moment der Wissensvermittlung ist die Ausleihe eines Mediums aus der Bibliothek. Mit the 16bit library von Holger Friese zieht der reine Verwaltungsakt der Verbuchung einer jeden Ausleihe nun auch eine für die Benutzer nicht unmittelbar sichtbare Veränderung am System nach sich. Jede einzelne Ausleihe wird dabei als graduelle Farbveränderung visualisiert, die über das Internet von jedem Ort des world wide web verfolgt werden kann. In der Bibliothek selbst verändert sich im Raum 611 auf Ebene S6 die Farbe des Umgebungslichts. Der Raum wird durch 16 RGB-Systeme beleuchtet, die gemeinsam gesteuert jeweils unterschiedliche Anteile roten, grünen und blauen Lichtes abstrahlen (entsprechend den einzelnen Bildpunkten eines Bildschirms). Die Mischung dieser Farbanteile ergibt die Farbigkeit des Lichts, und im Raum, der mit allen Möbeln, den Wand- und Bodenflächen ganz in weiß gehalten ist, ergibt sich daraus eine äußerst intensive Farberfahrung. Durch die Fenster dringt dieses Licht auch in den Außenraum der Universität und
ist dort je nach Helligkeit des Tageslichtes als gerade noch wahrnehmbarer Schimmer zu sehen oder als ein gleißend farbiges Leuchten.

Documentation webserver www.16bitlibrary.org
Proposals 1st & 2nd stage
unrealised part: redesign

Lightanimation 32.768 steps

Installation process

Before Installation

RGB lighting systems installed

Walls and Floor finished

Desks

Zeichen nimmt die Form des ehemaligen „Hammer und Zirkel“ Symbols an der Fassade des Palastes der Republik wieder auf. Es umschreibt die Fläche dieser Markierung mit einem Kreis weißer Neonröhren und wird dadurch selbst zu einem deutlich sichtbaren Zeichen. Gleichzeitig lenkt es natürlich die Aufmerksamkeit auf eine ideologische Leerstelle; es zeigt auf, wie der Palast der Republik durch die Entkernung zu einem Freiraum in der Stadt wurde.

Zeichen funktioniert aber auch als Symbol der Neunutzung, der kulturellen Umnutzung des Leerstands. Es machte weithin deutlich, dass an dieser Stelle Neues geschieht, dass die Kultur den Palast neu belebt.

Axel Lapp

Construction of Neon

GDR emblem / cutting points

Neon elements

Postcards

Postcard produced for Volkspalast

GDR postcard ca 1970 (Deutsches Historisches Museum)

Non authorized uses

Sign/Zeichen during concert “Einstürzende Neubauten”

Sign/Zeichen during BC one (Red Bull)

Sign/Zeichen as part of a poster at Volksbühne, Berlin

The movie “All items auctioned by Christian Schimanski over the internet in the last xxx years” presents items who had been sold or bought by a user named “schimanski.net” on ebay. The slideshow of goods presents a deep view into the private life of a specific person.

We are tracing the user schimanski.net since more then eight years – collecting everything he did sell or buy on ebay. Each transaction prolongs the movie.

ebay user schimanski.net
see movie

Still images