Peeing in Public
Peeing in Public is a publication as well as a lecture performance. For quite some while I have been occupied and fascinated with the subject of public peeing – which is a battle, played out on fields economical, political, technological and sexual. The question of when, where and how is certainly a preoccupation for all kinds of people. And the availibility of public toilets says a lot about the power structures within a society.
My performance is navigating through this very intimate business while the audience is sitting on so-called Donnerbalken in an associated posture.
performance ca. 45min + publication
Corners for Relief
The Corners for Relief emerge through my personal interest in the ‘being allowed’ and ‘having to’ in public space.: Where can one go when one has to? What do you do when you're not allowed? These small corner-shaped sculptures are modelled forms of popular peeing corners from public space and can be considered anti-monuments to this topic. Peeing corners may be a result of the lack of public toilets, but they still owe to the fact that ‘men can’ and are a demonstration of male privilege within the public sphere.
Exhibition view: SPERLING, Munich.
8-parted sculpture series, 2019
Busts are not just cold and soulless pieces of bronze, stone or wood, but potential dialogue partners whose experiences and views might unfold a new impact in the present. Set up as a conversation between a bust and myself, the audience is invited to witness an exceptional dialogue. It was performed with Prof. Ernst Späth (Curated By, Vienna), an African Songye-Mask (Kunsthalle Emden), Friedrich Wilhelm Raiffeisen (Kunstraum Niederösterreich), Hans Kloepfer (Steirischer Herbst).
Performance + Video, 20-25min, 2019
Image No.2 by Mathias Völzke
The Millionaire Talks
As artists we know too little about money, economy or payment – this is why I decided to make a talk-show and to ask questions myself. The work is based on my ongoing performance I want to become a millionaire. In the frame of Plateaux-Festival, my first guest was “collector, art-lover and entrepreneur” Tobias Gombert: “Tobias, please consult me – how would improve my project from an (art-) economical perspective?” At Bone Festival, my guest was Peter Schranz who was responsible for the artist funding of the city of Bern for many years. “Peter, your budget will be cut by 60%! Where do you start saving? What would be your message to us - the artists?”
Conversation, duration variable, 2019
Some Great Europeans
Chandigarh is the earliest planned city in India, designed by Le Corbusier. As such, it is stamped with the modernist European visions of scientific rationalism, efficiency and social improvement through design. In this context Some Great Europeans took place, as a ephemeral monument in front of the Art Museum, one of the Le Corbusier buildings. Visitors were invited to select an image from a series of photographs, all of which show public statues of some “great” Europeans and interpret it on an improvised pedestal. The short gestures of the participants become a fragile but all the more lively antithesis to the statit and solid monumentality of modernism.
Images: Mozart, Winston Churchill, Marie Curie, Miguel de Cervantes, Sissi; Morni Hills Performance Biennale, Chandigarh National Museum, 2019.
18-parted photo series, 30 × 45cm, 2019
Private Monuments is a series of eight sculptures based on holes of missing bricks on public squares. As the positive forms of the original holes, they create fragments of public space within a new environment. Eight dedications can be found as instructions to activate these Private Monuments with momentary gestures that are an echo of the daily life on public squares.
7-parted sculpture series, various dimensions, 2017
Leftovers are usually connected with food - and there are many (fantastic) dishes made out of them. In the field of arts, leftovers are often appearing in the field of performance. They are not only active elements of a performance but also part of the discussion how to preserve it – how to re-present it and render it accessible. Rest-Talks give voice to some leftovers from other performances and let them speak about their role, objective existence and future expectations: How do they experience the performance? What is their status when being on display afterwards? How do they feel when reintegrated into the consumer’s society?
Performance + Video, 20-25min, 2019
I want to become a millionaire
Since 2010, I am selling stamped and signed sheets with a sequential number for 1€ each. What started as a street performance, became a private funding system that supports and finances my projects independently. To date, I have raised more than 35.000€. Please get your sheets here.
Performance, since 2010
The Artists Sheets
At the beginning of the 20th century, industrials engaged artists to illustrate their stock certificates in order to enhance the value of their company through aesthetic representation.
In order to continue this tradition and to raise the value of my sheets, I started to invite other artists (even the dead ones!) to create a special edition on my I want to become a millionaire-Sheets. So far 165 artists helped to raise the prices of the sheets.
Images: Karina Bisch, Katharina Höglinger, Yves Klein, Javier Calvo, Mikko Kuorinki, Pilvi Takala, Rosalie Schweiker
Paper sheets, 10.5 × 14.5cm, since 2013
An occasionally operating pizzeria and a place of learning from Pizza: “… and finally, I opened il tedesco because it is a microcosmos of what I expect from the arts: It is about simplicity. It is down-to-earth. It is about improvisation. It is about surprise. It is about uniting and experiencing social life aesthetically. It is about mediation. And maybe this is why there is such a rise of works dealing with Pizza - because it is an expression of what many of us miss in the arts - let’s say, it is a truly romantic symbol …”
Performance, since 2018. Images: Significant Other, Vienna, 2019
Kunsthalle3000 is an institution as intervention that is declaring specific spots within public space as Kunsthalle to create an intensive, yet temporary locale for performance, discussion, confrontation and interchange. To date, Kunsthalle3000 has been located in Vienna, Paris, Johannesburg, Geneva, Beirut, and Nice. From 2018-19, Kunsthalle3000 was a one-year guest at Kunstverein Langenhagen.
Sculpture in public space, since 2016
High Gloss Heimersdorf
What looks like a unfinished or missing sculpture during the week becomes completed at weekends: Every saturday for three months, a performer offers the passers-by to have a seat and to shine their shoes for free. The work continues my series of performances dealing with the topic of shoe-shining, which for me is less a hierarchical service, but a medium to create a social situation. Comissioned by Simultanhalle for Simultanprojekte, Cologne. Performer: Anna Schütten
Sculpture / Performance in public space, 2019
A valve for a spontaneous aggression (II)
About 100 planks lean against the wall of the museum – a tempting offer to the audience to let off steam and to kick through them. The work was created for the duo-show El malestar en un espacio sin gravedad with Javier Gonzalez Pesce at the Museo de Arte Contemporaneo, Santiago de Chile. The audience impressively accepted my invitation and their reaction was a foreshadowing of what was to happen on the streets of Santiago just a few months later.
Performance / Installtion, 2019
A stone for your hand
Take a stone in your hand and walk with it through the city.
Performance / Installtion, 2019
La Tigra Land Art Garden
In the secluded nature of the Hondurian La Tigra forest, a garden was created that follows the idea of miniature gardens reflecting the secular and the high culture: As my contribution to the La Tigra Performance Festival at Réunion, I gave an iconic photography of a famous Land Art work to each participant without any additional information about its specific size, materials etc. and invited them to re-interpete and re-create the work within this new environment. Photos: Sandino Scheidegger
Performance + 14-parted photo series, 30 × 45cm, 2018
Water Yump – A swimming ensemble by Thomas Geiger
Water Yump pays homage to Fluxus artist George Brecht and his work Water Yam - a collection of printed paper cards that invited readers to enact the small actions proposed by each card. For Water Yump I invited the audience to enact works by 12 fellow artists and to create together a swimming ensemble in the Rhine river. What started as a drained choreography in front of Museum Tinguely floated down the Rhine river for 45min. Curated by Benedikt Wyss, hosted by Museum Tinguely, exhibited at Buero Basel. Photos by Nicolas Gysin.
Temporary public sculpture, 2018
Festival of Minimal Actions
Considering that the best way to keep a “performance” alive is to repeat it, I invite fellow artists to share their actions dedicated to public space. As a Festival of Minimal Actions I repeat these concepts myself for a new and random audience. After Brussels and Paris the Festival took pace in San José on invitation of Despacio (curated by Sandino Scheidegger). There, each artist's concept was printed onto large flags that were exhibted inside the space and raised along the facade at the day of their realisation. Photos: Sandino Scheidegger, works: Adán Valecillo (Amor al Arte), Fredy Solano (Graft)
Performance project, 2014/15 & 2018
I looked on my head from above (Audio)
Originally developed as a written text, in this Audio version a English woman calmly performs a rendition of the text which consists of a succession of terse, matter-of-fact one-sentence descriptions of events and actions. Each sentence beginning with the first person pronoun ‘I’, giving the impression that her admission of responsibility is both a confession and a boast (…) As it becomes clear that the list of events intoned are in fact artworks performed by multiple mostly male authors, the integrity of the speaker withers …play excerpt
Audio work, 24min, 2016
Bricks to Perform
Dear visitors, please find enclosed some sentences based on brick formations as I found them in the streets. Consider them your guide to recreate these as potential sculptures on the stages.
The work relates to the same-named publication. Exhibition views: La Construccíon, Guatema City, curated by Diego Sagastume, photos by Byron Marmol
Sculpture, various dimensions, 2017
marché pour l'unité
Dear customer, the left and the right shoe of the same pair are placed at two different stalls on a flea market. If you would like to buy the pair, you just have to set out to find the second one. Once successfully purchased, you become the owner of an art work, which gets activated each time you wear the shoes.
Created for Dim Sun, Lausanne.
A valve for a spontaneous aggression (I)
An action which is based on the same named video that shows three kids trying to kick through a plank which leans against a house wall. I recreated this ready-made situation and leaned planks against house walls at various places. Some time later, I returned to these spots and found most of the planks kicked through and broken.
video and sculpture series, 2014/15
20 stolen doorstops holding one single door open.
2-parted sculpture series, (Brussels/Switzerland), 2015/16
Die Moderatorin [the moderator]
This book is the moderator of a panel discussion about making, publishing, exhibiting and collecting artist’s books. The book itself asks questions, comments and even gives stage directions – considering a discussion as a play. It was made for the panel “Life and Opinions of an artist book” at Rroom, Lothringer 13 where it was ‘performed’ by Patrizia Dander (chief curator, Museum Brandhorst), Hubert Kretschmer (collector, Archive Artist Publications), Maria VMier (artist & publisher Hammann von Mier Verlag), Dr. Lilian Landes (art historian, Bayerische Staatsbibliothek) and Edition Taube. Published by Edition Taube. Photos by Luise Aedtner.
Book & Performance, 2019
The Thinking Machine is a language-based instrument that follows the principles of OULIPO to create works by using constrained techniques: By spinning the wheels I receive a combination of 3 words that stays with me throughout the day and serves as the basis for my visualization. Since 2007, this little exercise is a continuing part of my everyday practice and results in an ongoing collection of text-image combinations that can be considered as a diary of perception. A selection of the images can be found in this publication.
Object, prints (21 × 29.7cm) and publication, since 2007
The Collection for the Poor Collector
A publication that gathers fellow artists who undertake “the brave and exciting work of exploring economic and distribution strategies outside of the art market (…) allowing the once exclusive practice of collecting works of art to become possible for all!”
Sealed!, 48 pp, 7.4 × 10.5 cm, 5€, order from Edition Taube or write me.