DANIEL KNORR

GALER IE NACHST ST.STEPHAN

ROSEMARIE SCHWARZWALDER Works 1999 - 2016

Capillaire, 2015

Acrylic glass, air, aerosol pigments, Brugmansia

microbiological smear

Height: 200 cm Diameter: 30 cm

Capillaire is a series of acrylic tubes containing different types of poison. The title refers to the capillary vessels of a body. The architecture – the gallery – could be seen as the prolongation state body. In fact architecture corresponds to state standardization and incorporates a biopolitical structure. The presence of poison in a body can have different reasons. It can be used as a so – called antibody (anticorps) in order to boost the immune system and to destroy “foreign objects” like viruses or dangerous bacteria. In the same time it can be dangerous in the body if its concentration is higher than recommended. Continuing the analogy with the state, while on one side the poison controls the society, it can at the same time be dangerous if it gets out of control. (The poison stands also for the “bad” veins in the state body, namely the terrorists and the anti- governmental structures, the antibody as a needed “vaccine” in the governmental play.) The used poisons have the role of forming the shape of history related to its social, political and cultural background. Poisons have been used to kill statesmen (Napoleon by arsenic), or to control the demonstrators during riots (Pompidou used teargas against the students in 1968), or birth control (Atropa Belladona as abortifacient agent in east Europe) or Brugmansia as educational tool for naughty children (West Amazone – Chile), just to name a few. Poisons are designing tools and a kind of biopolitical structure of our society and the work Capillaire is examining the abundance of their use in our common “historic body”.

Pietra della Rinascita (2015)

(Rebirth Stone)

concrete

copy of TSAK KAR

from Gyumri Armenia ~ 3000 B.C.

300 cm x 280 cm x 220 cm

Concept:

The concrete stone is a copy of the basalt stone located in Gyumri Armenia. Since 5000 years the people of Shirak region “pass“ through the stone and get “reborn“. The work materilalizes the folcloric habit, celebrating „rebirth“ as an cultural act.

Story:

The Legend says that the stone is there since at least 5000 years and people crawl through the hole and get reborn. It is a place of spiritual pilgrimage and a site where families do picnic and grill. When we approach the stone we can find on the interior walls of the hole, high polished areas that are very glossy. The provenience comes from the fact of friction between the stone and the bodies that „slipped“ through the hole during history. The size of the hole is exactly that big that an „average“ person of that region passes through. The site is touristically „not discovered“ and serve its spiritual and leisure objective for visitors from around the area since then. The idea is the reproduction of an object that was created in time by spirituality and corporality, using the materials that are familiar to us today, concrete. I am interested in the connection between human and nature and I want to materialize it using the reference between the historic development of what we call nature. Concrete is the material of civilization and using it in this context, materializes the idea of a biological connection between humans and the biopolitical system, represented by this material.

Exhibition „Lunarium“

Galerie nächst St. Stephan Rosemarie Schwarzwälder

March 26 – May 3, 2014

This exhibition examines the state of things from the outside, from where they once were but are now estranged. Works appear to make the power of chance visible. What I want to achieve is a look forward into the unconscious – the place where we think change is something ‘imagined.’ The gallery’s Login, a small room which faces the street, is the place of initial encounter for the audience. In it, a connection is established. The room’s environment has been designed to be the opposite of a solarium. The Lunarium evokes paleness and refinement, which is a recurring emblem of Vienna’s urban culture. It is about realizing the potential of the night – to discover it and reflect on the prospects it holds, while others succumb to sleep. The Lunarium is only open to visitors at night between 12 midnight and 5 a.m. Nighttime is perhaps our last truly private domain – the time we exist only for ourselves, alone with our bodies and our dreams. A key idea is therefore to introduce an element of wakefulness as a way of commenting and contrasting the pathos of conspiracy and crime that the night evokes. While the Lunarium is visible only at night, the puddles in the Depression Elevations represent something that is only visible when it rains. This work transfers the idea of the world’s lowest points to the city Vienna. Their forms reflect street deformations and abrasions, incorporating the role of the street as historical witness to certain times and practices. The materials used are plastics containing crystal-clear polyurethanes, which were created exclusively for creative industries in the US. The colors correspond to the current industrial design code for public spaces and are based on colors used for packaging, various consumer goods, and company names. The puddles in the exhibition represent carefully selected sites in Vienna.

The work “Block” encourages visitors to examine history and cultural traditions from a new perspective. The classical musical instruments, which have become integral to Vienna in the last several centuries, are locked up in a cage. Are they dangerous? If yes, how so? Originally realized in another version for Artspace in Auckland, New Zealand, in 2009, this work is an investigation of musical instruments as tools of territorial and cultural colonization. As instruments, they have a wonderful sound, and

they captivate us with their gentleness and assertiveness. They are expressions of culture and attitude, and they continually remind us of this indirectly every time they are used to make music. Visitors are also allowed to play the instruments; there is a key to the cage.

In the third room is a new series that germinated in the streets of Berlin. At different locations in the city, the artist set up illegal advertisement boards that almost immediately became plastered with posters advertising different events. While offering a subjective view, the cut-outs shown here also document the ‘wild cultural landscape’ of Berlin.

LUNARIUM (2014)

materialization

complete storefront and space

Galerie Nächst St. Stephan Vienna

The concept of the work was to cover the facade of the project room space

of the gallery with black duvet used in theater for courtains to delimitate the

scene from architecture. Further the space was opened only at night between

00:00 – 5:00. The door was a bit opened, so far in order to let just the

streetlight enter.

The user could discover the night as a new element in order to explain

questions about identity, history and the position of "the other". The work

develops in future in the way that it materializes a new condition (the one of

the work itself) of viewing life. It can be realized in similar spaces that can get

accessible to public between midnight and five o clock.

Depression Elevation (since 2013) Materialization

various dimensions and colors polyurethane uv resistant

Kayne Griffin Corcoran, USA Galerie nächst St. Stephan Vienna

The concept started in Los Angeles by moulding depressions of the streets and highways and casting them using a new resin and related colors, especially designed for the creative industries located in California by a company called Smooth – On Inc. The work reflects the urban surface as biopolitical and biological representation of human action caught in time. Each casting is particular in size and color.

For this series of works, Knorr appropriated street surface deformations and irregularities using casts made in a complex process to effect an artistic representation. As documents of specific times and practices, the brightly colored wall reliefs are completely abstract objects referring to actual places (named in the titles) where surfaces are worn down through their long-time use in civic infrastructure. For his molds, Knorr used plastics containing crystal-clear polyurethanes, which were designed in the US exclusively for the creative industries. The colors correspond to today’s industrial design code for public space and are inspired by colors used for printed packaging, various consumer goods, and company names.

Knorr’s extractions from depressions in the earth’s surface take the shape of “inverted” reliefs. Looking through the smooth surface of the transparent mold, beholders can make out the irregularities in its depths that lend its unique visual structure. This “inversion” also takes place on the aesthetic level, transforming the rough, gray potholes into “eye candy.” The wall objects’ artificial colors and polished, even surfaces remind us of Skittles or Jell-O, with their chemical, artificial taste. The flat surfaces may also trigger associations with works by John McCracken and other American West Coast artists influenced by car culture. In this way, Daniel Knorr’s objects maintain a balance between the well-worn ground and the perfect surface.

The “MAKING of”

After cleaning the selected potholes Daniel Knorr takes a cast of the holes using alginate. This material is used by dentists for dental impression and is known to cast every detail. The hardened cast is then transported to his studio; silicone is poured over the cast, wrapped in plaster. As soon as the silicone has cured, Knorr removes the alginate. Now the silicone serves as casting mold for the transparent polyurethane which is mixed with various pigments. The curing process of the polyurethane takes around four weeks. After this process, the object can be installed on the wall.

Depression Elevation (München, Feldherrenhalle, Magma), 2015 pigmented polyurethane casting, UV resistant 190 x 190 x 4 cm (75 x 75 x 1 9/16 in.)

Depression Elevation (Berlin, Brunnenstraße Nike Drive), 2016 pigmented polyurethane casting, UV resistant 170 x 120 x 4 cm (67 x 47 x 1 9/16 in.)

Depression Elevation (Berlin, Weinbergspark Heart of a Tree), 2016 pigmented polyurethane casting, UV resistant 83 x 65 x 4 cm (32 2/3 x 25 1/2 x 1 1/2 in.)

Depression Elevation (Berlin, Brunnenstraße Hundertwasser), 2016 pigmented polyurethane casting, UV resistant 70 x 80 x 4 cm (27 1/2 x 31 1/2 x 1 1/2 in.)

Depression Elevation (Paris, Pont Neuf Cognac Tabac), 2016 pigmented polyurethane casting, UV resistant 150 x 135 x 5 cm (59 x 53 x 2 in.)

Depression Elevation (Berlin, Tiergarten Third Modernist), 2016 pigmented polyurethane casting, UV resistant 120 x 130 x 5 cm (47 1/4 x 51 1/4 x 2 in.)

Instant Community 2013 materialization

wire bobbin

various materials and sizes interactive

Tranzit Cluj, Romania Vulcano Solfatara, Italy

A bobbin of a certain length of wire gets unrolled by the artist and visitors of the exhibition. The wire is soft and can take the forms of the viewers interaction. After the opening, the visitors can still change the form and position of the wire. The work is the experience of material in haptic and expansive dynamic way, enabling the perception of consumption and expression in cultural space and thus materializing common perception. Further the piece has different stages of expansion, from it´s first introduction as a bobbin, to different forms in time and space, that can enlessly be changed by the viewer. When the presentation is finished (decided by owner or curator), the work is not to be stored, but given to metal recycling. When again staged, a new bobbin can be ordered. The work was shown in 2013 in Cluj / Ro using 2000 meters of 5 mm soft metal wire and in Vulcano Solfatara / It, using 2500 meters of aluminium wire of 5 mm.

AT YOUR SERVICE - ART AND LABOUR

An exhibition by the Technisches Museum Wien

and ERSTE Foundation

23 March 2012 – 03 March 2013

Bettelroboter Alpha & Beta, 2012 Installation in the Museum and in the public space

Knorr’s robots carry out a special kind of work: they are begging robots. While an earlier prototype is exhibited in a museum showcase, the latest generation is on active duty. One robot is busy working the Museum and its doppelganger is out “earning money” in Vienna’s urban environment. In reference to the law of robotics formulated by science fiction author Isaac Asimov stating that “a robot must protect its own existence”, the money raised through begging is used for repairs or to manufacture other robots. Knorr’s ultimate aim is to manufacture the begging robot as an industrial production-line product.

Smoking in the Museum (2012)

Materialization

Guidance system, glass,

metal, air-cleaning device

Kunsthalle Bremen

Kunstpreis der Böttcherstraße

The separation and control over the act of smoking happens also very strong

in the media, trying to educate the society to a better “health care

conciousness”. The first and strongest anti-tabacco movement, was initiated

in Nazi Germany during the 1930s and early 1940 using the Motto: “The

German woman doesn´t smoke”. Smoking was seen as “racial degeneracy”

and was banned even from public space.

Formally the work can be seen as a materialization of actual bio policy, driven

by a contemporary collective consciousness of health care, which was

established in the past decades. The lifestyle that gets controlled by such an

ideology, is just one element in the sensitive ongoing discussion between

smokers and non-smokers. It represents a field where the power of politics

and state, is launched on a global scale, initiating a “synchronized” cultural -

political discussion.

The result of this confrontation between all levels of culture, fashion and

politics, etc. around smoking, gets “regulated”, by governmental decisions of

bio-political matter and rigorousness, allowing the appearance of such

constructions like the smokers cabin.

The work has the target to materialize the relationship that established

between the state and its citizens, exposing the executive state power as an

object of reflection, in a historic and anticipative way.

2 Dollar Pig, 2012

inkjet on paper

big 100 cm x 80 cm x 20 cm small 50 cm x 45 cm x 10 cm

color: 3 pigs, singular, big and small black and white: pigsty of 30 pigs

dimensions variable Galerie Nächst St. Stephan Wien

Salonul de Proiecte, Bucharest

The concept of the work is to blow up to life size, the well-known origami pig, made of an original dollar bill. The work has multiple materializations, from three piglets and single pigs to black and white pigsty.

The history of the origami is not clear but the first ones came up in China during Sung Dynasty (905-1125) and had their culmination point in Japan and the European countries, as well as in the US. The work is constructed from a macrosized 2-dollar bill, materialized in folded origami pigs of two different sizes. This banknote was chosen particularly, because it continues the representation of luck, moreover it’s already a collectors item and even more worth than its “represented” value on the market. This aspect introduces the question of value and representation of an object in the same way art does. The pig has mainly positive associations to luck, prosperity and perfection, but also it relates to the word `pig´ which developed also a negative connotation. The connection of these meanings to money and its “personalization” is the metaphor of the piece. The multitude of meanings instilled in the piece, start to materialize in the head of the viewer. In that way, the origami dollar pig contains opposes codes and social values, and makes the work adaptable and referential to reality and various situations in contemporary life.

Vogelscheuchen (Scarecrows), 2012

Marie Antoinette and Louis XVI

Materialization wood, metal, textile, straw, jewelry each 400 cm x 200 cm x 100 cm

MUMOK Vienna

The concept behind this work was to take historical paintings as a basis for reconstructing the royal garments of Marie Antoinette and Louis XVI, stuffing them with straw, and making scarecrows out of them.

Essentially, this is meant as the materialization of a subjective perception of history. The point of reference here is the historical moment when feudalism was dismantled by the French revolution. “Equality” became one of the three fundamental characteristics of democracy. Associated with this was the idea that goût (“taste”) was a kind of vehicle for democracy that was now available to all citizens. In the nineteenth century, high taste became haute couture, and the first fashion houses emerged in Paris around 1860. Haute couture developed because the wealthy classes strove for distinction from the middle and lower classes. This distinction ran counter to the original democratic idea of “equality.” This artwork explores the idea that haute couture initiated a return to the feudal era by supporting social separation.

As a Viennese lady of high society, Marie Antoinette made the return to feudalism possible for many. In contemporary fashion, Vivien Westwood was one of the first fashion designers to work with her image. Another example is Sofia Coppola and her film Marie Antoinette. There are also countless blogs, articles, books, and clothes that pay homage to the queen.

The goal of this work is to present a “subjective” view of a particular historical moment and to allow the otherwise selective perception of history to stray somewhat. History is an element that structures our thinking and helps us to establish a pattern. Within this pattern, history is regarded as an extremely representative form of a system that is always constant, conscious of traditions, and linearly “propagated” into the future. This work is a synthesis of historical events, the materialization of a

revolutionary moment, and historically subversive material. The work’s correct interpretation requires knowledge of our contemporary canon of perception. If, in the future, we no longer have this canon or if it were no longer “rooted” in history, we would need a new way of reading the “royal scarecrows.” In the end, the work is a critique of a feudal way of thinking that has been running like a common thread through human nature for generations.

* Taken from : Elisabeth Vigée Lebrun, Marie Antoinette, 1778, Kunsthistorisches Museum, Wien; Joseph-Siffred Duplessis, Louis XVI, 1777, Musée du Carnavalet, Paris

Inherit, Donation, Transfer (the arms of Venus), 2011

materialization white Carrara marble

left: 16 cm x 100 cm x 19 cm right: 16,5 cm x 75 cm x 13 cm

The first idea behind the arms of Venus, is firstly feministic, to give autonomy to the original sculpture and „arm it“. From when it was found in 1820 it served till nowadays, the role of „beauty“ and most perfect body underlining the representation of the woman as an object. This was transported in our canon of perception. The arms located on the windowsill show the ability to „act“, or represent acting. The subversion is formulated regarding the future. History „compresses“ time and if the arms „survive“ in the next 2000 – 3000 years, the sculpture will materially „adjust itself“ to Venus de Milo from Paris. Maybe the times will allow the discovery saying „well we have the arms now, found in a private collection“. Here the potential of subversion is a time capsule, the older the piece gets the more it comes near to the one that was found now 200 years ago.

Stolen History, 2009-

Materialization

fabric, variable dimensions

U-turn Quadriennial Copenhagen

Fokus Lodz Biennial

The piece is a further materialization of a work that started

in 2008 covering the heads of public statues with balaclavas

in Copenhagen addressing contemporary themes to the

public sculptures that visualy got anonymized through the

intervention.

The actual size of the present balaclava fits the statue of liberty in New York. Hidden on a small courtyard, sideways

from Piotrkowska street in Lodz, the work was built up on a

supporting structure using wires and a framework. The work

asked about identity claims in relation with the subject of

liberty and challenged associations with the political situation

of that time of today. It represents also a single closed cell

of people, in proportion to the city, like a cell in the brain of

consciousness.

Stolen History, 2010 C-Print, ed. 3/3 + 1 A.P., 1/1 A.P., 70 parts each 30,5 x 21 cm (12 x 8 1/4 in.) , framed each 31,9 x 22,4 cm (12 1/2 x 8 13/16 in.)

Stolen History, Statue of Liberty, personalized, 2011 fabric, ed. 1/5 + 1 AP, 50 x Ø 25 cm (19 11/16 x Ø 9 7/8 in.)

Validate me, 2009

Interactive work 5 LCD monitors, sensors, software program

Kunsthalle Basel edition of 5

The work consists of installing a detection system in the exhibition space of the Kunsthalle Basel. The exhibition space has the shape of a gun. It is in this way that an exemplary study about art and the politics of representation is initiated. The gun stays “a priori” for any exhibition space. The detection system (People Counter) surveys the space and displays information about the number of visitors that are in the exhibition rooms. The trajectory of each visitor is shown on LCD screens that are installed in each room of the show. Once the show ends, the sensors and the system will stay in the Kunsthalle and transmit data (via the internet) to the monitors (editions) worldwide.

Nationalgalerie, 2008

52 flags of berlin based student corporations

each 320 cm x 280 cm

textile, metal 5th Berlin Biennale,

When things cast no shadow.

The concept of the work is the materialisation of history and present in a color bar code which represents a power structure in the state. Implemented at a certain society level in Germany, with strong expansion potential, the student corporations serve nationalist and conservative structures and are hierarchically organized towards certain colors and codes. Large number of corporated students are positioned on high society levels importing the principle of their “colors“ into the structure of the society.

La femme de ma vie ne m´aime pas encore,

1999

Fri Art Centre d´Art Contemporain Fribourg

99 pieces, papier maché,

180 cm x 150 cm - 7 cm x 7,5 cm

Collection Neue Pinakothek Munich

Welcome, 2011

Galerie Nächst St. Stephan, Vienna

19 pieces, papier maché,

180 cm x 150 cm – 5 cm – 4,5 cm

99 paper maché puppets were made using the russian

traditional way of painting. About 5 “families“ could be formed

in sizes from 7 cm to 200 cm height. The tradition,

a “biological” factor which influences our perception is always implemented when considering relationships within society.

The puppets technically entering one in each other, are

materializing different ways and values after which tradition

is flowing through the “layers” of our character influencing our “taste“.

The second edition of the work was produced more than 10

years after. It marks a changing point in the perception of a

tradition. Matrjoska is a historic moment of common desires

that now seem to become even more unreachable and for that

reason displayed in black and white. The colored Matrjoska

was lent from the cleaning woman that bought it just after its

production in Switzerland back in 1999.

BIOGRAPHY

Born 1968 in Bucharest, Romania Lives and works in Berlin, Germany

SOLO EXHIBITIONS (selection)

2016 Appropriating Language #14: State of Mind, Manière Noire, Berlin. Germany

2015 Veni Vidi Napoli, Galleria Fonti, Naples, Italy

2014 Lunarium, Galerie nächst St. Stephan Rosemarie Schwarzwälder, Vienna, Austria

2013 Vulkanstr., Vulcano Solfatara - Sala del Bianchetto, organized by Galleria Fonti, Naples, Italy Depression Elevations, Kayne Griffin Corcoran Gallery, Los Angeles, California Instant Community, tranzit.ro/ Cluj, Cluj, Romania

2012 Piggy Bank, with Coate Goale, Salonul de Proiecte, Bucharest, Romania

skulptur: Explosion, Kunsthalle Wien Karlsplatz Public Space, Vienna, Austria Official Fire, Kunstverein Arnsberg, Arnsberg, Germany

2011 M. eine Stadt sucht ihren Mörder, Lothringer_13_Halle, Munich, Germany Dead Letter Office, Galerie nächst St. Stephan Rosemarie Schwarzwälder, Vienna, Austria Limits of Jurisdiction, Romanian Cultural Institut and Färgfabriken, Stockholm, Sweden

2010 Family Jewels, Kunstverein Arnsberg, Germany Urlo, Galleria Fonti, Naples, Italy

2009 Led R. Nanirok, Kunsthalle Basel, Switzerland, catalogue Awake Asleep, Museum of Modern Art, Warsaw, Poland Block, Artspace, Auckland, New Zealand

2008 Scherben bringen Glück, Fridericianum, Kassel, Germany, catalogue The way politics influence art and vice versa, Fondazione March, Padova, Italy Awake Asleep, Borges Libreria, Guangzhou; Fei Center for contemporary art, Shanghai; space e6, Shenzen, China, catalogue

2007 1 Year Warranty, Skulpturenpark Berlin-Mitte, Public Space, Berlin, Germany, catalogue

2006 Extranjero ven a votar! Studio Protokoll, Cluj-Napoca, Romania, catalogue

2005 European Influenza, Romanian Pavilion, 51rst Biennale, Venice, Italy, catalogue

2004 Agents, Rote Zelle, Munich, Germany, catalogue

2002 Visible/Invisible Series, The Project, New York, New York Robot walking in an exaggerated manner around the perimeter of a square, Serge Ziegler Galerie, Zurich, Switzerland

2001 Not Another Ready Made, Serge Ziegler Galerie, Zurich, Art Chicago 2001, Chicago, Illinois Klaus, Klaus kommt auch zu Fuss, Serge Ziegler Galerie, Zurich, Switzerland Haste ma' ne Mark, Museum Folkwang, Essen, Germany, catalogue

1999 La femme de ma vie ne m'aime pas encore, Fri-Art, Fribourg, Switzerland, catalogue

1994 Good Old Times, Kunstforum Lenbachhaus, Munich, Germany

GROUP EXHIBITIONS (selection)

2017 Documenta 14, Kassel, Germany and Athens, Greece

2016 The Soul of Money, DOX Centre for Contemporary Art, Prague, Czech Republic

2015 Feiert das Leben! / Celebrate Life!, Kunsthistorisches Museum, Vienna, Austria Remember Lidice, Edition Block, Berlin, Germany Europa, die Zukunft der Geschichte, Kunsthaus Zürich, Zurich, Switzerland Con(temporary) De(materialized), Kunstverein Hamburg, Hamburg, Germany Re Discovery, Autocenter Berlin, Berlin, Germany Unendliche Bibliothek, Alte Fabrik, Gebert Stiftung für Kultur, Rapperswil-Jona, Switzerland

2014 INPUT/OUTPUT - Worpswede zeitgenössisch, Worpsweder Museen, Worpswede,

Germany Inundumundumherum, Kunstverein Arnsberg, Arnsberg, Germany Made in LA, Lamoa project, Hammer Museum Los Angeles Show us your dreams Museum of Modern Art Warsaw Mobile Biennale 1, Turul Olteniei in 7 Zile, MNAC, Bucharest Romania Dispozitii in timp si spatiu, MNAC Bucharest Fractures, The Jerusalem Show VII, Qalandiya International, Gaza

2013 Cattedrale, Istituto Svizzero, Rome, Italy Berliner Herbstsalon, Maxim Gorki Theater, Berlin, Germany The Way of the Shovel: Art as Archaeology, Museum of Contemporary Art, Chicago, Illinois Nation Building, Maxim Gorki Theater, Berlin, Germany La empresa soy yo. Trabajo y subjetividad / I am the Company - Labor and Subjectivity, Casa del Lago Juan José Arreola, Mexico City, Mexico In the Heart of the Country. The collection of the Museum of Modern Art of Warsaw, Museum of Modern Art of Warsaw, Warsaw, Poland Monkey Business, Galerie Sophie Scheidecker, Paris, France Le Pont, Mac Musée d’Art Contemporain de Marseille, Marseille, France

2012 Openings Out to Reality. Unità di Dismisura. Una Moneta per San Lorenzo, Istituto Svizzero, Rome, Italy Papierwelten, Galerie nächst St. Stephan Rosemarie Schwarzwälder, Vienna, Austria Goldrausch. Gegenwartskunst aus, mit oder über Gold, Kunsthalle Nürnberg, Germany; Villa Merkel, Esslingen, Germany, catalogue Kunstpreis der Böttcherstraße in Bremen, Kunsthalle Bremen, Germany Reflecting Fashion. Kunst und Mode seit der Moderne, MUMOK Museum moderner Kunst Stiftung Ludwig Wien, Vienna, Austria Say it loud, District, Berlin, Germany

The archeology of memory, Sorø Kunstmuseum, Sorø, Denmark At Your Service - Art and Labour -, Technisches Museum and Erste Foundation, Museumsplatz, Vienna, Austria; Museum Arbeitswelt, Steyr, Austria (2013) How To Make - Ideen, Notationen, Materialisierungen, Kunsthaus Dresden, Dresden, Germany In anderen Worten. Der Schwarzmarkt der Übersetzungen - mit zeitgenössischen Kulturen handeln, NGBK Neue Gesellschaft für Bildende Kunst und Künstlerhaus Bethanien, Berlin, Germany Archaeology of Memory, Sorø Kunstmuseum, Sorø, Denmark, catalogue

2011 Steirischer Herbst, Zweite Welt. Wohin schreitet der Fortschritt?, curated by What, How & for Whom/WHW, c/o Galerie Zimmermann Kratochwill & Festivaldistrikt, Graz, Austria Ogni cosa a suo tempo. Capitolo II: Daniel Knorr e Riccardo Beretta, GAMeC, Bergamo, Italy Art on lake, National Museum of Fine Art, Budapest, Hungary, catalogue Collection of Migros Museum, Fridericianum, Kassel, Germany Nova Galeria, Zagreb, Slovenia Second World, Steierischer Herbst, Graz, Austria, catalogue Biennial of Graphic Arts, Lublijana, Slovenia, catalogue

2010 The promises of the past, Centre Pompidou, Paris, France, catalogue Early Years, Kunstwerke Berlin, Germany Artefact Festival, STUK Kunstencentrum, Leuven, Belgium The Romanian Cultural Resolution, Baumwollspinnerei, Leipzig, Germany, catalogue Post Monument, Biennale di Carrara, Carrara, Italy, catalogue

Fokus, Lodz Biennale, Lodz, Poland Touched, Liverpool Biennale, Liverpool, Great Britain, catalogue La Ciudad Interpretada, CGAC, Santiago de Compostella, Spain New Mobility, Art Today Association, Plovdiv, Bulgaria

No ifs no buts, Open Space, Vienna, Austria Correct me if I am critical, Felleshus of Nordic Embassy, Berlin, Germany

2009 Viva l´Italia, Galleria Astuni, Bologna, Italy

Various Platonisms, Galerie Elisa Platteau, Bruxelles, Belgium The Archeologists, Ursula Blickle Stiftung, Kraichtal, Germany Reading the city, EV+A, Limerick, Ireland, catalogue Simple Gesture, Trafo, Budapest, Hungary Fake or Feint, Berlin Carré am Alexanderplatz, Berlin, Germany, catalogue

2008 When things cast no shadow, 5th Berlin Biennale, Berlin, Germany, catalogue

The Principle of Hope, Manifesta 7, European Biennial, Rovereto, Italy, catalogue U-Turn, Quadriennale, Copenhagen, Denmark, catalogue Art as a Gift, Periferic 8, Bienniale, Iasi, Romania, catalogue Antwerp Sculpture Show, t´Zuid, Muhka Antwerpen, Belgium Between the pictures, Xposeptember Festival, Stockholm, Sweden, catalogue Afterthought, IrmaVepLab, Reims, France

2007 Wir haben keine Probleme, Bergen Kunsthalle, Oslo, Norway

Invisible Invincible, Curators Without Borders, Berlin, Germany Beneath the Underdog, Gagosian Gallery, New York, New York Bodycheck, Triennale für Kleinplastik, Fellbach, Germany, catalogue Spatiul Public, Bucharest, Romania, catalogue Parallel Moments, Azad Gallery, Teheran, Iran Place makers, Curators without borders, Berlin, Germany Chocolates, Anti Museo Ojo Atómico, Madrid; Palau Ducal, Valencia, Spain

2006 Chocolates, Museo Carillo Gil, Mexico City, Mexico, catalogue Outdoors, Danielle Arnaud contemporary art, London, Great Britain Mafia or an unopened pack of cigarettes, Galerie Standard, Oslo, Norway Check-in Europe, EPO, Munich, Germany

2005 Ortsbegehung, Neuer Berliner Kunstverein, Berlin, Germany, catalogue

Ein Arkadien der Moderne? 100 Jahre Künstlerhaus Villa Romana, Neues Musem, Weimar, Germany, catalogue ADAM, Smart Project Space, Amsterdam, The Netherlands

2004 5th Cetinje Biennale, Cetinje, Montenegro, catalogue

Berlin Murmur, Ecole Superièure des Beaux-Arts, Metz, France Raumpool, Frankfurt/M., Germany

2003 Solmurlaici, Centre Culturel Suisse, Paris, France, catalogue

Crossing Perspectives, Enlargment of the Minds, ECF Headquarters, Amsterdam, The Netherlands

2002 Unstable Narratives, Hartware MediaKunstVerein, Dortmund, Germany Public affairs, Kunsthaus Zurich, Switzerland, catalogue

2001 Favorites, Serge Ziegler Galerie, Zurich, Switzerland Foto-Documente, Galeria Noua, Bucharest, Romania Periferic, Romanian Biennal, Iasi, Romania, catalogue Site Co-Opted, Andrew Kreps Gallery, New York, New York

2000 Hey international competiton style, TENT, Rotterdam, The Netherlands

LISTE 2000, Fri-Art, Centre d'Art Contemporain Fribourg, Basel, Switzerland On the spot, Bern, Switzerland Weltwärts, Kunstmuseum Bonn, Germany Cafe Helga & Galerie Goldankauf, Kunstraum München, Munich, Germany, catalogue

1999 Dream City, Kunstverein München, Munich, Germany, catalogue

1998 Ateliers des Artistes, Marseille, France, catalogue Personne sait plus, Villa Arson, Nice, France, catalogue

1997 Gang of Munich, Shedhalle, Zurich, Switzerland

1996 Update, Copenhagen, Denmark

1995 Collisiones, workshop, San Sebastian, Spain, catalogue

1994 Station, Interimsgalerie 2, Galerie der Künstler, Munich, Germany, catalogue opening show, Galeri Nicolai Wallner, Copenhagen, Denmark

MUSEUM COLLECTIONS

Belvedere, 21er Haus, Vienna, Austria Collection GAMeC, Bergamo, Italy Kunstmuseum Bonn, Bonn, Germany (Stiftung KiCo) Kunstverein Bremen, Bremen, Germany Lenbachhaus, Munich, Germany Museum Folkwang, Essen, Germany Museum im Stasi-Bunker, Leipzig, Germany MuHKA, Musueum of Contemporary Art, Antwerpen, Belgium Pinakothek der Moderne, Munich, Germany

CORPORATE COLLECTIONS

Collectione Tullio Leggeri, Museo ALT, Bergamo, Italy Collection Michel Samuel Weiss, Moulhouse, France Erste Bank Collection, Vienna, Austria Migros Museum für Gegenwartskunst, Zurich, Switzerland Nancy A Nasher and David J Haemisegger Collection, Dallas, Texas Sammlung zeitgenössischer Kunst der Bundesrepublik Deutschland Vehbi Koç Foundation, Istanbul, Turkey

PUBLIC COMMISSIONS

“One meter cube of freedom”, Public Sculpture in Rome, Italy, commissioned by the Swiss Institute, Rome and by Gorki Theatre, Berlin, Germany (ongoing)