Drum Bun Spacial Installation

Startdocumentary

Drum Bun, 7-part work, collage, SanDepot-Halle, Aichach 2014

The room installation shows 7 processed sheets of paper hanging from the ceiling by a thread. Every breeze created by a passing visitor causes the sheets of paper to rotate, so that they cannot always be seen in their entirety. The result is an overall picture that is fragmentary and constantly changing – just like a memory.

Black Headscraf

2013, Photo album, different papers, acryl, gaze, 34 x 21 x 6 cm,

An old family album is filled with personal spiritual connections to the past: letters, pictures, words…. It is an attempt to reconstruct the past with the means of the present. But how much truth is there in it? And how much utopia?

The greater the distance in time and place to the past, the more the truth is reduced to the essential – a metaphor about space and time, about home and childhood.

The headscarf is a symbol. It tells of femininity and oppression, of tradition and religion, of yesterday and tomorrow. The headscarf plays an important role in many societies. In fact, the black headscarf is the most striking thing I remember from my childhood as a member of the German minority in Romania. It was a visible sign of marriage and “Germanness”. The headscarf still accompanies me in my life today: socially, politically, personally.

This work is available as a physical object or video.

Evidence

2014, collage, frottage, photo album, photographs, acrylic paint, various papers, wax, 34 x 21 x 6 cm

The photo album is a metaphor of doubting one’s own existence – a documentation of traces that becomes worthless when no one remembers the stories behind the pictures. I bought this photo album at the flea market and re-stocked it – an archive of traces with stories that open up to each viewer in their own way.

This work is available as a physical object or video.

Below the Surface

2014, photo album, photography, mixed media, wax, 27 x 19 x 8 cm

A surface is the outer shell of an object. A surface envelops, protects and conceals secrets. The leather cover of a book or photo album is, literally, the skin that protects the pages and thus also the contents. Since the invention of the camera, it has become a tradition in the Western world to preserve the collective memory of a family in photo albums and thus document one’s own origins. It was passed on from generation to generation.

However, the collective memory does not last (Aleida Assmann) and after three generations it has changed so much that a family album can lose its ideal value. I buy such family albums, which have obviously become worthless, at virtual flea markets. I dissolve their collective memory in order to create a new, universal one.

In this work I invite the viewer to cast their voyeuristic gaze into an unknown photo album. Page by page, layer by layer, he penetrates deeper beneath the surface of a cryptic narrative – a story that opens up to everyone in a different way.

This work is available as a physical object or video.

Home is Somewhere Else

2013, Photoalbum, mixed media, 34 x 21 x 6 cm, Mittelschwäbisches Heimatmuseum Krumbach, Art Award of the town of Krumbach

This work is based on the following statement:

“Home, once lost, is always somewhere else.”

EKH

At the heart of this work is the obsessive search for a place of identification and belonging. I describe it as a long car journey without arrival. For every apparent arrival makes one painfully aware that home is not where one has been looking for it.

The book is an old family album filled with my own photographs, mostly taken from a moving car and then given a digital patina. In this way, present and past, reality and fiction merge.

Ansichtssache – the Postcard Project

2015, Videoinstallation, 10:30 min

A joint project with Antje Fischer and Marlies Achermann-Gisinger.

The handwritten, analogue postcard is a relic today – in the age of SMS and email.

In September 2014, we decided to start a joint postcard art project for the year 2015. Each of us was to design one postcard per day, free choice of technique and free choice of theme – that was the brief.

This video installation was also created within this framework. The visual source material is photographs of the backs of postcards, written on or blank, with traces of editing. The acoustic material is “field recordings” in our local post offices. This resulted in a sound composition of random or typical noises, dialogues and alienation elements.

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