Journey to the End of Night

Märkisches Museum/Witten, 2015

Overthetoptours”, C-Print, 70×100cm, 2015:
Motifs taken along the former frontlines of WW1,
titled as a travel agency in Ypres.
(see PHOTO)

Metropolis”, 2011: Slide mirror projection,
carousel with timer (approx. 3 slides per minute),
mixed materials, military aircraft models

Germaniahalle”, 2015, playground sand and plaster mixture, 70×70×50cm, remake of the Germaniahall planned in the 3.Reich for Berlin considering Albert Speer’s „theory of ruin value“

Bombed Skyline”, sketch, 100×200cm, 2013
(see PLANE)

Mountains of Madness”, Col., HDV, 13:43 Min., 2014: Camera: WW1 practice trenches of WW1 at Penally/Wales; Audio: commentaries from WW1 Multi-Man-Online (MMO) gameplay set.
(see VIDEO)

Happy Birthday

Chapter Gallery/Cardiff (UK), 2014

At the invitation of the Capter Arts Center in Cardiff, Wales the exhibit „Happy Birthday: WW 1 turns 100; this solo-exhibition presents themes that reflect the war‘s effect on contemporary culture. The two quintessential figures of the exhibit, the Zombie and the Cyborg, are both fictional creations from WW 1. Western civilisation‘s decent into war meant that it was no longer possible to continue a transformative cathartic narrative of salvation by either mythological or realhistorical means. This led to the effective dissolution of the classical dichotomy
between the natural world and culture/civilization, a precondition for mankind‘s creation-myth, and is decisive factor amongst others to reflect upon.
The Zombie is thus an allegory in the image of the fallen angel, or the rotten mythological hero, in the sense of the lost or a bygone era. Meanwhile the Cyborg, representative of the dialectic between nature and machine in itself, is the first and foreseeable future the representation of the the potential for a post-humanistic discourse and new creation-myth possibilities.

Overthetoptours”, C-Print, 70×100cm, 2014:
Motifs along the former frontlines of WW1 in Northern France. The title was taken from a tourist agency for WW 1 battlefield tours. (see PHOTO)

Vitrine Installation, 121×613×31cm, 2014:

Ghosts of Mars”, 44 Relics, collected objects from the erstwhile battlefields of WW1, museal enactment and private collector‘s passion.

Camera in Conflicts”, 21 recreations of captivating documentary photographs from WW1 with respectively outfitted toy-soldiers.

Mordor”, Objekt, 27×83×76cm, 2014:
3D-remake of screenshots of landscapes in WW1 computer games.

Georgy, Willy and Nicky”, mixed materials, 20×80×180cm, 2014:
Outfits for football games with gasmasks.

Darkstar”, Sound-/Slideinstallation, 2013: Slideprojectors, timer, object of mirrors, rotating motor: contact microphones amplifie ventilator fan and gearshift as a „Drone Sound“.

The American Friend”, Playground sand and plaster, height 92cm, 2012: Remake of sky scrapers planned in the 3.Reich for Hamburg and not realized considering Albert Speer’s „Theory of ruin value“.

Overthetoptours”, C-Prints (Camera Voigtländer 1938), 60×38 cm, 2014: british war monuments to WW1

Happy Birthday”, Performance (see ACTION)

Madworld”, HD Video, Col., 04:10 Min., Somme, 2014: B/W slides of WW1 monuments in Flanders and Northern France, overvoice singing with „Madworld“ covered by Gary Jules

Mountains of Madness”, Col., HDV, 13:43 Min., 2014, camera: WW1 practice trenches at Penally/Wales; audio: commentaries taken from live online gameplay sets in WW 1. (siehe VIDEO)

Theory of Ruin Value

“(…) _The ruins of communism, capitalism-or indeed Nazism-have proved rich territory: in Dettmeiers Der Amerikanische Freund, he shows zu Putlitz‘s buildings in ruins-but looking more like fragil half demolished sandcastles: thus telling the lie to the Nazi architect Albert Speer‘s „theory of ruin value“ which prescribed that the buildings of the Third Reich should be constructed so solidly that, if needed, they would make suitable massive ruins, akin to ancient Rome. (…)”
Robert Wilson, catalogue text

Visions

Marta/Herford, 2013

Playground sand and plaster mixture, height to 92cm, 2013: Locally casts and modifications: remakes of architecture planned in the Third Reich and not realized considering Albert Speer’s „theory of ruin value

Krautkamerad

Galerie Schmidt Maczollek/Köln, 2013

Gauforum Deutz”, Playground sand and plaster mixture, 50×150×450cm, 2012, locally casts and modifications: remakes of the „Gauforum Deutz“ planned in the Third Reich and not realized considering Albert Speer’s „theory of ruin value“

Voigtland”, “Ride ‘Em Jewboy”,“Open Range
(see PHOTO)

Krautkamerad”, Kodak presentation case including slide carousel with speakers, B/W slides of the the brown coal mining area of the Rhineland; music: “Krautkamerad” by Stabilelite/Düsseldorf, 2012

The American Friend

Galerie Oel-Früh/Hamburg, 2012

The American Friend”, Playground sand and plaster mixture, hight to 92cm, 2012: locally casts and modifications: remakes of sky scrapers for Hamburg planned in the 3.Reich and not realized considering Albert Speer’s “Theory of ruin value”

Voigtland”, C-Print (Camera Voigtländer 1938), 40×60cm, 2012: Port City Hamburg (see PHOTO)

Golden Gate”, 150×220×220cm, 2012: Slide carousel with timer (approx. three slides per minute), mixed materials: skyline of bombed-out Hamburg and the skyline bridge planned by Hitler.

Ride ‘Em Jewboy”, Video, 2012, Voiceover singing: ‘Ride ‘em Jewboy’ by Kinky Friedman, a Western ballad about the Shoa; Slide carousel with timer, (approx. four slides per minute), motifs of Hamburg; places with historical connection to the Neuengamme Concentration Camp and its subsidiary camps in the industrial production facilities of Hamburg.

Peace in the Valley Once Again

Neuer Kunstverein Wuppertal, 2011

In the ‘Adlershof’ district to the east of Berlin there lies the Johannisthal Airfield. Germany’s first airplanes took off from here in the beginning of the 20th Century. Facilities such as laboratories, motor testing beds, wind tunnels and hangars were built and were of high military importance during the Third Reich. After the Second World War the airport was closed down by the Red Army and became a self-regulating biotope for rare plants and animals. After the German reunion the ‘City of Science, Business, and Media’ was built on the site as a 65 ha sized natural reserve and landscape parc.

Metropolis”, hight 150cm, 2011:
Slide projection over mirror, carousel with timer (approx. 3 slides per minute), mixed materials, military aircraft models

Bombed Skyline”, 38×22×220cm, 2011:
Slide projection, carousel with timer (approx. 3 slides per minute), mixed materials, prototype of a skyline of bombed-out cities from the US Civil War to Gaza.

Peace in the Valley”, collage and sketch, 38×60cm, 2011:
Skylines of bombed cities from the US Civil War to Gaza (siehe PLANE)

Peace in the Valley Once Again”, Adlershof/Berlin, 2011:
Video and slideprojection of the same motifs (approx. 4 slides per minute), Musik: “Peace in the Valley Once Again”/The Handsome Family

Erodere

Märkische Museum/Witten, 2010

Modellstadt”, wood, stain, cloth, from 89×110×172cm to 130×70×203cm, 2003:
Wild-West Architecture in the Ruhr Area
of the 19th century/copperplate of that
age from the collection of the Museum

Wasteland”, Baryt, 70×100cm, 2002:
coke dumps in the city port of Essen
(see FOTO)

Waitin' Around To Die

Kunstverein/Braunschweig, 2010

Roadside Picnic”, Presentation unit incl. slide carousel (approx. 5 slides per min.) and speaker, 2012: 15 collages (see FOTO Stalker) und 5 BW-prints (see FOTO Voigtland), audio: “Ne Cede Malis”/Spectre

Colosseo Quadrato”, slide-installation, plywood, polystyrene, crates of “Deutscher Brunnen” mineral water, 2009: 3-D-Modell des Colosseo Quadrato in Rom, slide carousel (approx. 5 slides per min.) with 81 dramatic skies

Voigtland”, “Ride ‘Em Jewboy”,“Privatland” (siehe PHOTO)

Ride ‘Em Jewboy”, Video, 2012, voiceover-singing of ‘Ride ‘em Jewboy’ by Kinky Friedman, a Western ballad about the Shoa; Slide carousel with timer, (approx. 4 slides per min.): BW motifs from Berlin places with a historical connection to the Shoa and architecture of 3.Reich

Badlands

O.T. Raum für aktuelle Kunst/Luzern, 2008

Stadt”, 113×250×145cm, 2005, plywood, polystyrene, acrylic, self-adhesive foil

Roadside Picnic”, Presentation unit incl. slide carousel (approx. 5 slides per min.) and speaker, 2012: 15 collages (see FOTO Stalker) und 5 BW-prints (see FOTO Voigtland), audio: “Ne Cede Malis”/Spectre

Stalker”, 2007/“Badlands”, 2005 (see PLANE)

Ain't No Sunshine

Gallery Schmidt Maczollek/Köln, 2006

Town”, 113×250×145cm, plywood, polystyrene,
wallpainting: acrylic paint, self-adhesive foil

Tower”, 58×79×182cm, plywood/polystyrene, 2005

House”, 78×86×151 cm, plywood/polystyrene, 2005

Weapons”, 11×145cm, spades, 2004

Wastelands” (see PHOTO)/“Badlands”(see PLANE)

Madhouse

Horten/Düsseldorf, 1999

Installation, styrofoam, nylon cord,
video projection „Knight Strip“

The Knight

1996 - 2000

Between 1996 and 2000 the issue of the Knight arose as a subject for examination, its mythological possibilities, its architecture, the sword in the stone or the cross upon the grave, the flying castle as a spaceship, Don Quixote or Obi Wan Kenobi – in the form of multiple sketches, pressings, objects, installations, photographic works, performances and videos.