2014 AMYGDALA
Max-Planck-Institut für Bildungsforschung in Berlin
2011 Still life with Lemons
Installation and Performance former Iraqi Embassy in Berlin
2010 In between
Exhibition In between at Kunsthale M3, Mengerzeile, Berlin
Material: bird feathers
2009 New cells
Gallery Kobro, Łódź | Poland
I started work on New cells (German: Neue Zellen) in the year 2008. . . read more
2009 New cells
I started work on New cells (German: Neue Zellen) in the year 2008.It is a sort of diary, although I did not create entries regularly. Instead, I did so when I felt the need to give substance to my thoughts, emotions, as well as the events in my life. In this diary I use a certain kind of narrative that might be just as accessible to viewers as it was to me. The “entries” are a kind of meditation on, as well as dialogue with, the soft felt material used in them.
In these times of “don’t think, just act”, the work has created itself. The factory-produced felt shows its diverse facets in the minimalism of form, structure and its various shades of white.
In this work of (re-)production, of repetition of individual steps, of the patient and precise manufacturing of nearly identical elements, it was mainly the absolute individuality of the finished entries that fascinated me.
New Cells is installed on the walls of a gallery in the form of a music score. It is still a work in progress. Up to now, around 450 elements have been created. Every element is composed of a white wooden box measuring 10 x 10 cm and containing a arrangement of 64 white felt squares.
2009 Freiräume 33
Cihangir, Istanbul
2007 Moments of Siberia Sound Installation
VII Art Biennale, Museum Centre Krasnoyarsk, Russia
Sound Installation, VII Art Biennale, Museum Centre Krasnoyarsk, Russia
It is eighty years ago since the German ethnologist Hans Findeisen travelled to southeastern Siberia. . .
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2007 Moments of Siberia Sound Installation
VII Art Biennale, Museum Centre Krasnoyarsk, Russia
It is eighty years ago since the German ethnologist Hans Findeisen travelled to southeastern Siberia. He had been commissioned by the Ethnological Museum in Berlin to research the population of this region. During his trip, Findeisen was charged with finding out more about the various ethnic groups, investigating their rituals and customs, as well as their everyday lives. His own area of personal interest was shamanism, and he was later to write extensively on the subjec. Findeisen visited Siberia once in 1927-28, spending several months there. During the trip, he met his first wife, who came from the Krasnoyarsk area and helped him in his research. During this period, he was a Communist sympathiser.
Findeisen kept personal diaries documenting his stay in Siberia, as well scientific travel reports and numerous photographs and sound recordings for the Ethnological Museum. His 95 recordings of Shaman songs and fairytales were inscribed on wax cylinders using a phonograph – this was the first technique that made it possible to make recordings of around three minutes in length. The wax cylinders are now stored in the collection of the Ethnological Museum in Berlin, along with 30,000 other recordings. During World War II they were taken to the Soviet Union, then later transported back to communist East Germany. The photographs and his written documents are divided between the museum and his family’s estate in Germany. During the Third Reich, Findeisen was a member of the National Socialist party and the SS. He also made a concerted effort to be accepted into the SS research institute Ahnenerbe, which was set up to provide scientific evidence in favour of Nazi racial ideology. Hans Findeisen was classified as a Nazi sympathiser after the war.
This exhibition has been made possible with the kind support of the Ethnological Museum in Berlin and Janina Findeisen, the granddaughter of Hans Findeisen. (Berlin 2007)
Format
Moments of Siberia is an art installation in which visual and sound material play a decisive role. Four original-size reproductions of old photographs are displayed in a darkened, medium-sized room, which is designed to resemble a room in the Ethnological Museum in Berlin. As is usual in a museum, they are accompanied by small notice boards containing information about the photographer, the place and year in which they were taken etc.. The historical photos were taken by Hans Findeisen during his trip to Siberia. Most of them are directly linked with the sound recordings that can be heard here. Four sound recordings of Shaman songs and drumming are played during the exhibition. It is left up to the visitors themselves to decide how long they want to listen to the music, which can be turned on and off via simple controls.
The recordings were made eighty years ago in southern Siberia by the German ethnologist Hans Findeisen. Each one is played through a loudspeaker that is respectively situated under (or over) each photo.
Information boards (in Russian) situated in front of the entrance to the room also make up an important part of the installation Moments of Siberia. They primarily give a brief account of the dark, but not atypical story of the ethnologist Hans Findeisen, as well as providing a short history of the sound and visual material.
2006 AMYGDALA
CENTRE D'ARTS, plastiques et visuels, LILLE - Ten thousend sheets of silk paper, aroma of bitter almonds
2005 Pierwsza Pomoc (First Aid)
2004 The Glass Bead Game
Permanent installation for Mariposa on Tenerife | Spain
The pavilion made of glass-beads is a place that can be entered, which walls consist of thousands of blue glass beads. . .
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2004 The Glass Bead Game
The pavilion made of glass-beads is a place that can be entered, which walls consist of thousands of blue glass beads that have been threaded on thin steel-strings. The pavilion can be entered and left on all sides. The circular "wall" embraces an empty round space which is the centre of the pavilion. The only direction that one can glance unhampered from there or any other place within the pavilion is up to the sky - or to the inside. The landscape surrounding the pavilion is hard to perceive as the glass-beads produce the image of a closed wall for the eye. I wanted to create a place into which man can submerge and in which he can move freely. The entering of the pavilion, the "penetration of the wall" and the sensation of glass-beads on the body are supposed to evoke the senses of people. The sounds of the glass-beads caused by light wind or people convert the pavilion into an acoustic place, into an instrument that is supposed to convey silence. The Glass Bead Game is an island on an island.
2004 Wysokie Ciśnienie (High Pressure)
Galeria Sztuki "Wieża Ciśnień", Konin | Poland
The installation Wysokie Ciśnienie was especially designed for the Gallery Wieża Ciśnień (previously the water tower) in Konin, Poland. . .
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2004 Wysokie Ciśnienie (High Pressure)
Galeria Sztuki "Wieża Ciśnień", Konin | Poland
The installation Wysokie Ciśnienie was especially designed for the Gallery Wieża Ciśnień (previously the water tower) in Konin, Poland.
It is situated only a few meters away from the regional bus station, as well as, from Berlin-Moscow train station. The high exibition place was filled with more than 2000 red balloons. In the opened windows the biggest ones were squeezed in such a way to be visible for both the passer-bys and the travelers.
The installation consisted of 3 elements that interacted with each other: Firstly, the special place, previously the water tower, which name in Polish language "The tower of high pressure" expressed the literal meaning. Secondly, the gallery visitors, who could move freely throughout the gallery space and change the work . And lastly, the natural light coming from balloons coloured the whole room diffuse red. Wysokie Ciśnienie, quasi "blown-up Art" is an ironical commentary to a hedonistic exibition practice, in which Art appears only as EVENT.
2004 Album
Club der Polnischen Versager, Berlin | Germany
The installation Album was exhibited in the gallery Club der Polnischen Versager, in the totally darkened room that gradually slopes down. . .
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2004 Album
Club der Polnischen Versager, Berlin | Germany
The installation Album was exhibited in the gallery Club der Polnischen Versager, in the totally darkened room that gradually slopes down.
Nine, various, old slide projectors that whirred quietly, displayed black and white pictures of Polish girls during their First Holy Communion. The pictures were taken in the early 1970’s, as well as one generation before, and they were collected among family and friends circle of the artist herself. They were projected in various directions and sizes on black walls and two silk screens. Once projected the pictures were never changed. Slide projectors provided the only light source. The spectator was able to move freely around the installation-since Album provided a threedimensional photo-album. The First Holy Communion in Poland is closely related to the idea of consumption and commercialization of the event, in which the surface plays an important role. Girls look like brides- stylized to young women. Clothes, accessories and hairdressing helped the commercially oriented photographers to emphasize the artificial character of the event. The pictures follow the same code of gestures and motifs that illustrate the interface of life by any Catholic. The installation Album was displayed in Berlin in May- the time when the First Holy Communion usually takes place in Poland.
2004 Nic (Nothing)
Galerie ZERO, Berlin | Germany
The installation "Nic" was designed especially for the "Zero" Gallery in Berlin and plays with its name. . .
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2004 Nic (Nothing)
Galerie ZERO, Berlin | Germany
The installation "Nic" was designed especially for the "Zero" Gallery in Berlin and plays with its name. 4 oval convex (lens) mirrors, the same that are used to watch shoplifters, were placed in 4 upper corners of the small, almost square room. In the middle, there was a white socle, on which instead of a sculpture there was a flat lying mirror placed chest height. The windows and entrance were covered with white greaseproof paper. Only at the eye height there was a slit left open to watch the gallery from outside. "Nic" stages "white cube" instead of commercial usable things. The room itself and spectators became exibits by their own multiple reflection in the mirrors.
2003 Prace ręczne
Photo installation with 1344 photos.
2003 Freie Räume
2003 Trennen
Spatial installation with 2 lightboxes, hair, hocker and interactive sound elements