Texts and artist statementsExtension Series 2012 - 2010

and music – is a “feeling inside”. But what does this actually mean? Is our national identity something situated in our bodies? And if so, how does it get there? Is it something we learn?These are some of the questions that the Danish artist Henrik Vestergaard Friis set out to explore in 2006 when he began his work entitled Kanon 1-12. With the basis in the twelve works selected for the official Danish cultural canon of performing arts, Vestergaard Friis examines his own national roots by using himself as a piece of litmus paper, per-sonally reconstructing each of these canonised works, thus trying to assimilate these representations of national identity into his own body. If “the feeling” exists, the physical and mental work with the twelve works should leave an imprint on his body. This imprint was also visible in the artworks exhibited at Grimmuseum.

Extension extra took place at Grimmuseum and at the Kunsthalle am Hamburger Platz and embraced practical and theoretical discourse on performance art today by showcasing a wide range of Perform-ance Art approaches and a number of unusual ways of working with the basic elements of performance: space, time and presence.

The twelfth Extension Series was directed at reflecting and opening a high-contrast dialogue between the subtle perform-ance work of Stefanie Trojan (usually based on interaction with the audience and situational play), and the exhibition of the photo ar-chive of performances from johnicon alias: Johannes L. Schröder. johnicon presented a selection of photos of performances by Paul McCarthy, Tatsumi Orimoto, Chris Burden, Guillermo Gómez-Peña, Nezaket Ekici, John Bock and many others he has taken over last three decades. Here he addressed the question of documenting and archiving performances, as well as performing his personal ‘archive’ through some ‘re-doings’ and performance-lectures. As a counterpoint, Stefanie Trojan’s performance Kuss embodied essential features of the medium, like site-specificity, ephemer-ality, immateriality and unmediated co-presence. Thanks to her

Extension Series understands performance art as a dynamic media that uses cross-disciplinarity to explore new per-spectives in contemporary art. This program focused on emerging and established international artists, who explore and extend the boundaries of performance art, using the traditional elements of performance – such as space, time, artist’s body, actions, objects and the relationship with the audience – in an innovative way.Extension Series invited two artists in residence every 6 weeks to work site-specifically for seven days. The invited artists were able to develop and exhibit new works, to discuss their positions with the audience and to research new methodologies in the documen-tation of the performance. The Extension Series hosted the tension of the creation process and explored the ephemeral performance moment displaying its documentation. Each part of the Series was accompanied furthermore by a public lecture on challenging theo-retical and critical discourses in performance art today.

After two years of the performance art programme Extension Series at Grimmuseum, Extension extra aimed to extend its format for the special occasion of the Month of Performance Art Berlin, featuring eleven performances by artists coming from eight different countries, four lectures and a three-week exhibition of the performance project Kanon 1-12 by Henrik Vestergaard Friis.

The notion of national identity has always been a complex idea to grasp and comprehend. The most common description or explana-tion is that national identity – besides being manifested in various cultural and material representations such as art works, cuisines

Extension Series 2012 - 2010curated by Andrés Galeano

a l l photos by L aur a G i ane t t i

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MPA 2012

2 6 . 5 - 17. 6 . 2 0 1 2Kanon 1-12Henrik VestergaardFriis

17 - 2 0 . 5 . 2 0 1 2Extension extraShannon Cochrane, Dariusz Fodczuk, C J Mitchell, Manuel Vason, Joan Casellas, Márcio Carvalho, Marc Giloux, Ellen Friis,

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Annika Dahlsten & Markku Laakso, Leena Kela, Elina Minn, Kimmo Modig, Henrik Vestergaard Friis

Lecture: “ There is more to life than books you know, but not much more”.New adventures in Live Art publishing and distribution by C J Mitchel Performance Festival Performance (Lecture) by Shannon CochraneBecoming an image by Manuel VasonDuchamp and the romantic adventure of the Action Art in the Catalan forest of Alt Empordà by Joan Casellas

curated by Andrés Galeano in collaboration with Month of Performance Art Berlin

see page s 312-326

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3 0 . 1 1 - 4 . 1 2 . 2 0 1 1KussStefanie TrojanLose aus VaseJohannes L. Schröder

Lecture: Lose aus Vaseby Johannes L. Schröder

see page s 328 -331

EXtEnsion sEriEs

stAtEMEnt

text by Andrés Galeano

303

Grimmuseum hosted the opening of the first Month of Performance Art Berlin (MPA 2011), with the performances of two Berlin-based artists, Mimosa Pale (Finnland) and Wilhelm Klotzek (Germany).Klotzek showed “Treff” Lyrik und gesprochener Text am Objekt, a site-specific performance composed of two parts, the first of wich, involved reading poems dedicated to Fichtestraße (Grimmuseum’s street), and the second made of different actions interacting with Fichtestraße architectural elements – like a letterbox, trees and the sculptures of a fountain.Pale also presented a performance in two parts: The first, Aquarelle Hats, was performed by Johanna Ketola, Jenni Roth, Anton Blume and Saana Inari, who stood still in different rooms with aquarelle pigmented hats while water dropped from the ceiling ‘painting’ their white dresses. The second part was performed by Pale accompanied by the noise artist Valtteri Pöyhönen, who produced sounds while Pale moved in a colourful and expressive dance.

The ninth Extension Series focused on the British live art scene by hosting the new works of Bill Aitchison and Tim Jeeves. Both artists expressed – in both a literal and metaphysical sense – the difficulty of understanding where one is historically, geo-politically and socially situated in the world nowadays.Aitchison’s performance The Customers are Always Wrong was the fruit of his residency in China learning Mandarin. This experi-ence changed his self-awareness as a Westerner and led him to attempt to better understand himself from a Chinese perspective. The performance aimed to share this personal experience and was realised entirely in Mandarin with subtitles in Chinglish (Chinese English) and in Germany (thanks to simultaneous Google transla-tions), which created vertiginous and humorous cultural displace-ments and disorientation.Jeeves’ performance, Voices of Infinity, was about the transience of time and the impossibility of planting a firm anchor in the present moment, irrespective of its relationship to the past or future.

minimal and sharp infiltration of the social situation, and her body-to-body actions, Trojan’s work radically confronted a per-formance experienced in flesh with the experience of its mediated documentation shown by johnicon.

For the eleventh Extension Series, two duos – Skugga Guðlaugsdóttir & Marco Dorn, and Johnny Amore & Irene Pas-cual – were invited to develop a performance-installation based on collaboration. These four Berlin-based artists usually work solo, each with different media such as: sculpture, photography, paint-ing, installation and performance. Skugga Guðlaugsdóttir & Marco Dorn exhibited three works: Diluted History, Head First/Force and Dirt Form, that dealt with the leftovers of an activity as an art piece.Johnny Amore & Irene Pascual built a playful performance ti-tled: Tracks of Traces, aimed at bringing the audience into a relaxed, holiday state.

The tenth Extension Series focused on Action Poetry, a very relevant approach to Performance Art in Spain that com-bines Performance Art with experimental poetry tendencies, such as phonetic poetry, visual poetry, concrete poetry, etc. For this oc-casion, two of the most representative Spanish artists in this genre were invited: Bartolomé Ferrando and Joan Casellas.Joan Casellas showed Kopfaktion / Head Action, a site-specific per-formance dedicated to the Fluxus artist, Emmett Williams. “Action Art is a kind of conceptual art, mental art or let ’s say an art of the head. At the same time, Action Art is also a physical art that uses the body – and the head is part of this body.” Joan CasellasBartolomé Ferrando performed Visual Music, with the poetic premise that, as Ferrando says: “things are also music” and that the “music can also be seen”. The performance consisted of the attempt to communicate with inanimate objects using everyday gestures and his powerful voice articulating a primitive language of strange phonemes.

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1 5 - 2 0 . 6 . 2 0 1 1Visual MusicBartolomé FerrandoKopfaktion / Head ActionJoan Casellas

Lecture: The Spanish Performance Art Archive AIR Eby Joan Casellas

see page s 338 -345

MPA 2011

1 . 5 . 2 0 1 1“ Treff ” Lyrik undgesprochener Text am ObjektWilhelm KlotzekAquarelle HatsMimosa PalePart 2Mimosa Pale in collaboration with sound artist Valtteri Pöyhönen

curated by Andrés Galeanoin collaboration withMonth of Performance Art Berlin

see page s 346 -353

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1 8 - 2 4 . 4 . 2 0 1 1The Customers areAlways WrongBill AitchisonVoices of InfinityTim Jeeves

Lecture: Live Art and its Development in the UKby Christopher Hewitt

co-curated by Testing Grounds andAndrés Galeano

see page s 354 -359

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19 - 25.9.2011Diluted History, Head First/Force and Dirt FormSkugga Guðlaugsdóttir & Marco DornTracks of TracesJohnny Amore & Irene Pascual

Lecture: Stand-In for Fluxus by Ann Noël

see page s 332-337

Extension Series 2012 - 2010 Texts and artist statements 305

ber the event – hopefully forever.” Rimat’s performance used speech and written text in order to evoke imaginary actions, situations, ob-jects and spaces. “I guess... if I’d brought along a rifle and shoot myself into my foot in front of your eyes (...) We wouldn’t forget that. But none of this will happen here tonight. I want this moment here tonight between us to be remembered. I want each of you to remember this and therefore this moment will have to be somehow special...” Sylvia RimatNina Boas’ Drawing, Installation, Performance#4 created a paral-lel wonderland full of surprises and naïve representations of daily life, using live drawing, three audience members and one big video projection. She created a sort of audition situation asking three men to compete in the realisation of some given tasks while she drew a girl and a house. “For me the performance is about the being in the now and being in a drawing. In the end I chose one of the volunteers and created a little domestic story.” Nina Boas

The sixth Extension Series exhibited two durational performances: Wake for James Lee Byars by Ivan Civic and a collabo-ration between the Chinese artists, Yingmei Duan and Lan Hung.Wake for James Lee Byars lasted 15 hours divided over three days. This piece was a tribute to the artist James Lee Byars, who has a strong influence on Civic’s work. His intention’s was “ (…) to awaken the memory of this artist and bring him back to life in this new space, with new people surrounding him and new approaches to the way his work can be seen and experienced.” Civic didn’t re-enact any of Byar’s performances, but tried to come as close as possible to the spirit and essence of his work. He created a respectful and silent performance-homage that ruminated on memory, love, time, and the transmission of experience.The performance of Yingmei Duan and Lan Hungh was driven by an exploration of human nature, the body, and different aspects of desire in all possible forms. The artists played with their capacity to transform their bodies into other beings, like animals, clowns or objects, and throughout their performances they maintained a communicative awareness and interactive engagement with the

The performance combined esoteric reflections on our relationship with time. Here Jeeves used personal information about his own fight with cancer and conversations with his parents on their view of death. Jeeves’ work explored uncertainty by empowering the audience to end the performance whenever they wished – which they did!

For the Extension Series 8, Florian Feigl exhibited his ongoing project: Prologue for 300, consisting of video and live per-formances. Combining mediated actions with actions in real time and space, Feigl drew focus to the differences between liveness and mediated activity, integrating both aspects in a complex perform-ance/video-installation.“Prologue for 300 is a set of five-minute (300-second) performances. The performances are part of a body of approximately 300 sequences, which will form the planned 24-hour experimental video film 300. These performances explore many diverse fields such as the artistic, social, sculp-tural/iconographic and ethnological, amongst others.The idea behind 300 is to cope with the massively increased use of the word ‘performance’ for and within a paralleled expansion in number of contexts and areas of knowledge, information and life (...). Life is rapidly becoming a series of performances – without clear boundaries between performance and real life! Is everything actually performance? Is this a fact to be welcomed – or to be confronted? It is high time that we have specialists answering the question of what is and isn’t a performance.” Florian Feigl

The seventh Extension Series presented the work of Sylvia Rimat and Nina Boas, whose pieces play humorously with theatrical illusion and the use of fine narrative mechanisms in interaction with the audience. Sylvia Rimat showed a work-in-progress of her latest performance I guess if the stage exploded..., which primarily dealt with the question of how to create an unforgettable performance. “By introducing the audience to memory tasks taken from popular science books, and applying them to the performance situation, I tried to train the audience to remem-

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1 0 - 16 . 1 . 2 0 1 1I guess if the stageexploded...Sylvia RimatDrawing, Installation, Performance#4Nina Boas

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9 - 14 . 1 1 . 2 0 1 0Wake for James Lee ByarsIvan CivicVenus & DavidYingmei Duan &Lan Hungh

Lecture: Yingmei Duan Solo Show in Grimmuseum in 2015by Yingmei Duan

see page s 368 -373

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7 - 1 3 . 3 . 2 0 1 1Prologue for 300Florian Feigl

Lecture: Producing and exhibiting performance: a case studyby Solvej Helweg Ovesen

see page s 360 -363

Lecture: The Action ofDocumentationby Christopher Hewitt & Andrés Galeano

see page s 36 4 -367

Extension Series 2012 - 2010 Texts and artist statements 307

research about the BDSM scene (Bondage & Discipline and Sad-ism & Masochism). El Teixidor rotates around the use of the oth-er and a sexual practice that is not socially well accepted. Here, “the artist-performer voluntarily – and with the collusion of another art-ist – converts herself into an object of use by modelling her body with the cords of hemp. Behold then an object whose only served purpose is dancing to the rhythm imposed by the environmental music with the bold partici-pants of the public who wish to dance, women or men.” Maria Cosmes and Saverio Longo

The third Extension Series examined the diverse ways of understanding a performance, presenting works by German artist, Andreas Sell, and Finnish artist, Essi Kausalainen – Sell’s work being conceptual and minimalistic; and Kausalainen’s pieces building a very gentle and poetic language of physical images. Both artists, however, operated in a special and inclusive man-ner in their performances by extending their actions towards the audience and in these performances both played with ideas of ab-sence. Sell presented three conceptual performances. The first two: Con-cept 2010 Nr. 1 and Concept 2010 Nr. 6, concerned the providing of a service in ordfer to serve a concrete and practical need (like buying a piano or looking for a fundraiser). The third performance: Ohne Titel, 2010, Sitzende Frau, 2´5 Stunden, involved paying an actor per hour to sit on a chair in the exhibition space as long as she wished. Kausalainen’s Darwin Series similarly involved with her own ab-sence. Since a volcano eruption hindered her trip to Berlin, she wrote performance instructions for three performers – Brina Stinehelfer, Florian Feigl and Márcio Carvalho – who executed and extended the possibilities of Kausalainen’s own bodily presence.

audience. The expressive spectrum of their work integrated witty, ironic and tragicomic aspects, often in a very clear and direct man-ner. Their site-specific collaboration at Grimmuseum produced a three-day experimental performance playing with the Ying and Yang of heaven/hell, man/woman, life/death, and public/private.

For the fifth Extension Series, two young Berlin-based artists were invited to show their work: Elisa Haug and Portuguese-born Márcio Carvalho. Utilising the fact that they didn’t know each other, these artists used their short residency at Grimmuseum for a collaborative performance-installation entitled Learning you. The performance-installation circulated around the artist’s process of becoming familiar with each other. The artists reflected the proc-ess before the performance and the memories after the performance while still in front of the audience. They combined their artistic lan-guages in a colourful and visually rich performance using video pro-jections, poetic actions and the clever use of the space as a metaphor for their own bodies.

The fourth Extension Series involved two artists from Spain, Nieves Correa and Maria Cosmes, and drew focus to their different performance approaches. Nieves Correa presented: El nivel de la mirada (Eye Level), a minimalistic performance formally dealing with writing, rep-etition and space. She obsessively wrote the phrase: “El nivel de la mirada” all around the exhibition space following two paral-lel lines with a colourful calligraphy pen across walls, windows, doors, heaters, etc. The performance lasted about two hours. Correa: “My idea was not to get the audience attention. I was as the cleaning woman doing my work around when people enjoyed themselves drinking wine and chatting and of course, I became an uncomfortable presence, the reminder of a hard work done.”Maria Cosmes, working in collaboration with Saverio Longo, performed: El Teixidor (The Weaver), based on anthropological

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3 1 . 5 - 6 . 6 . 2 0 1 0El nivel de la mirada(Eye Level)Nieves CorreaEl Teixidor (The Weaver)Maria Cosmes& Saverio Longo

Lecture: Performance Art Festivals in Spain by Nieves Correa and Maria Cosmes

see page s 374 -377

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19 - 2 5 . 4 . 2 0 1 0Konzept 2010, Nr.1,Nr.6 / Ohne TitelAndreas SellDarwin SeriesEssi Kausalainen

Lecture: Frei Erfunden + Entstelltby Johannes L. Schröder

see page s 378 -383

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3 0 . 8 - 5 .9. 2 0 1 0Learning YouMarcio Carvahlo & Elisa Haug

Lecture: Performance Art Jukeboxby Christopher Hewitt

Extension Series 2012 - 2010 Texts and artist statements 309

PAS Performance Art Studies, founded in 2008 by German performance artist, BBB Johannes Deimlings, is an inde-pendent educational program that offers intensive studies to young artists, art students and other people interested in performance art. PAS has been collaborating with the Grimmuseum since 2010 in a residency program. After Image (2012) examined the photographic medium as a way of documenting the ephemeral nature of performance art. For the second residency in Grimmuseum (2011), PAS presented: In Context, which involved looking into the interrelation between performance art and its physical surroundings. One aspect of the course concentrated specifically on the effects of living and work-ing in the Grimmuseum. The first collaboration between PAS and Grimmuseum in 2010, Extension, consisted of ten-day residency with the participation of twelve international artists in the context of the Extension Series.

The second Extension Series was a long-planned col-laboration between BBB Johannes Deimling and Antoni Kar-wowski. Both artists have been engaging each other in artistic ex-change for more than a decade. They utilised the residency to dis-cuss their artistic approaches and exchange inspiration in a shared process focussing on research on transparent material. Their collaboration evolved into a performance divided into two parts. In the first part they each performed solo in separate rooms: Karwowski started with Transparent Material – Vanilla Line, wich was a very polished performance dealing with memory, archetypes and synthetic evocations through the materials used, and Deimling continued with Transparent Material – Shamrock, a performance-collage made out of four ‘living images’. Immediately afterwards they swaped spaces for the second part, where they performed in parallel, each in the room of the other, using what was left over from the previous performance and combining their performance vocabulary in a synergetic dialectic of creation and destruction.

The first event in the Extension Series was a fruitful collaboration between Siân Robinson Davies and Christine Haa-se, who developed two playful performances based on the same structure: using the audience to stage the scenarios depicted in two found photos, culminating in taking a photo documenting the constructed situation.As the artists described: “The audience is divided into two groups on arrival, one German- and one English-speaking. The two groups are taken into separate rooms. In each room there is a photograph hanging on the wall. In the first room, the image is of a group of gorillas and in the second, a team of guerrilla fighters. Each group has half an hour to re-create the scene in the photograph using themselves and a set of props. The aim is to make a new photograph, which is as close to the original as possible. Team work, initiative and good a photographer is everything.”

PAs

1 3 . 8 - 2 6 . 8 . 2 0 1 2PAS Studies #27:After Image

17. 8 - 2 9. 8 . 2 0 1 1PAS Studies #20:In Context

8 . 7 - 1 8 . 7. 2 0 1 0PAS Studies #16:Extension

see page 392-395

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1 8 - 2 5 . 1 . 2 0 1 0Guerrilla GorillasSiân Robinson Davies& Christine Haase

see page s 390 -391

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8 - 1 5 . 3 . 2 0 1 0Transparent Material– Vanilla LineAntoni Karwowski

Transparent Material– ShamrockBBB Johannes Deimling

Lecture: Performance Art Jukeboxby Christopher Hewitt

see page s 38 4 -389

PAS Performance Art Studies 2012 - 2010Extension Series 2012 - 2010

PAS - Performance Art Studiescurated by Johannes Deimling and Marcel Sparmann

photos by Mat th i a s P i ck

311

Kanon 1-12E X – extra Henrik Vestergaard Friis 313

Bad Really Really BadLeena KelaE X – extra 315

Elina Minn Dawson Cryng.gifE X – extra 317

Express yourselfKimmo ModigE X – extra 319

My Great Grandfather was a Monkey in the ZooAnnika Dahlsten & Markku LaaksoE X – extra 321

My Great Grandfather was a Monkey in the ZooAnnika Dahlsten & Markku LaaksoE X – extra 323

Zero, Pyramid of People, Fairytale and Other TricksDariusz FodczukE X – extra 325

Dariusz FodczukE X – extra Zero, Pyramid of People, Fairytale and Other Tricks 327

KussStefanie TrojanE X – 12 329

Lose aus VaseJohannes L. SchröderE X – 12 331

Tracks of TracesJohnny Amore & Irene PascualE X – 11 333

Diluted History, Head First/Force and Dirt FormSkugga Guðlaugsdóttir & Marco DornE X – 11 335

Skugga Guðlaugsdóttir & Marco DornE X – 11 Diluted History, Head First/Force and Dirt Form 337

Visual MusicBartolomé FerrandoE X – 10 339

Visual MusicBartolomé FerrandoE X – 10 341

Kopfaktion / Head ActionJoan CasellasE X – 10 343

Kopfaktion / Head ActionJoan CasellasE X – 10 345

“Treff ” Lyrik und gesprochener Text am ObjektWilhelm KlotzekMPA 2011 347

MPA 2011 “Treff ” Lyrik und gesprochener Text am ObjektWilhelm Klotzek 349

MPA 2011 “Treff ” Lyrik und gesprochener Text am ObjektWilhelm Klotzek 351

Part 2Mimosa Pale in collaboration with Valtteri PöyhönenMPA 2011 353

The Customers are Always WrongBill AitchisonE X – 9 355

Bill AitchisonE X – 9 357

Voices of Inf inityTim JeevesE X – 9 359

Prologue for 300Florian FeiglE X – 8 361

Prologue for 300Florian FeiglE X – 8 363

Drawing, Installation, Performance#4Nina Boas E X – 7 365

I guess if the stage exploded…Silvia RimatE X – 7 367

Ivan CivicE X – 6 Wake for James Lee Byars 369

Wake for James Lee ByarsIvan CivicE X – 6 371

Venus & DavidE X – 6 Yingmei Duan & Lan Hungh 373

El teixidorMaria CosmesE X – 4 375

El nivel de la miradaNieves CorreaE X – 4 377

Konzept 2010, Nr. 1, Nr, 6 / Ohne Titel Andreas SellE X – 3 379

Konzept 2010, Nr. 1, Nr, 6 / Ohne Titel Andreas SellE X – 3 381

Darwin SeriesEssi KausalainenE X – 3 383

Transparent Material - Vanilla LineAntoni KarwowskiE X – 2 385

Transparent Material - ShamrockBBB Johannes DeimlingE X – 2 387

Transparent Material - ShamrockBBB Johannes DeimlingE X – 2 389

Gueril la Goril lasSiân Robinson Davies & Christine HaaseE X – 1 391

A Nebahat Erpolat B Liesje Van De Berk C Gabriela AldreteP A S

A

B C D

D Felix Fernandez 393

E Jesus Imenez F Michelle Isava & Saverio Debernardis G Michal SamamasP A S

E

F G

395

2012 - 2010This is not an index

A

Adamo, David 250, 274, 276Ådlandsvik, Stian 210Ahalouch, Wafae 298Aitchison, Bill 305, 354-357Alimoussa, Guillaume 291Alm-Basu, Anjali 170 Altermatt, Benjamin 68, 78-79Altin, Özlem 45, 244, 249, 250, 278Altman, Lauren 170Amore, Johnny 304, 332-333Ang, Song-Ming 170, 173Arcangel, Cory 47, 250, 254Ashley, Sam 70-71, 86-89Atabekov, Said 150, 154Attoe, Dan 250, 274Auburtin, Marion 291, 292Awst & Walther 46, 250, 260

B

Bak, Anna 291Baker, Nathan 218Ballesteros, Maxime 46, 250, 260Barba, Rosa 180, 186-187 Bardón, Xavier García 68, 78-79Barta, Robert 200- 205Beckerlee, Honey Biba 162-165Bedö, Viktor 170Beinhorn, Camille 206Belaief, Margherita 250, 274-277Beltran, Erick 180, 185Bengtsson, Kristina 282, 285Benvegnù, Caterina 210Berckemeyer, Olivia 298Berrigan, Caitlin 286Berthold, Barbara Metselaar p. 150Bjarre, Bjørn 250, 251-253Boas, Nina p. 306, 364-365Boman, Alfred p. 190-195Bomba, Massimiliano p. 68, 78-79Bonajo, Melanie p. 170Bonchev, Plamen & Burchardi, Sofia 150, 158

Bonneviot, Juliette 218Boris+Natascha 170Borm, Marlous 218Boschan, Madeleine 292, 296Brenander, Jonatan Ahlm 15-21, 190-199Bressan, Enrico 291, 292Bressel, Stefan 286Bruzzone, Marco 42, 222Buhl, Nanna Debois 180, 187Bünger, Erik 71, 90-95Burger, Andreas 291Bürger, Manuel 170

C

Cain, Sarah 244, 247Calero, Sol 244Carlsson, Ulf Verner 250, 251-253Carvahlo, Marcio 302-303, 308, 309, 382-383Casellas, Joan 302, 304, 342-45Cavaliere, Francesco 28-29, 34, 68- 127Chan, Carson 42-42, 222-223, 226Chancel, Philippe 150, 156Chauhan, Ajit 47, 250, 254, 256Chiasera, Paolo 47, 250, 254Civic, Ivan 36-37, 307, 368-371Clark, Nicky 206Clarke, Conor 236Cochrane, Shannon 303Collins, Chris 170Consiglio, Mario 230-235, 250, 274Correa, Nieves 308-309, 376-377Cortassa, Guia 210Cosmes, Maria 308-309, 374-375Cubitt, Clayton 46, 250, 260

D

Dahlberg, Kajsa 210Dahlsten, Annika & Laakso, Markku 302, 320-323Davies, Siân Robinson 310, 390-391De Beer, Sue 46, 250, 260, 265De Burca, Benjamin 140, 142

De Vries, Anne 218Deball, Mariana Castillo 180, 189 Deimling, BBB Johannes 28, 310, 311, 386-389, 392-395Devereux, Laura 170Di Gennaro, Alberto 291, 292Dicke, Amie 46, 250, 260, 263Dorn, Marco 304, 334-337Dring, Paul 250, 251-253Duan, Yingmei 35-36, 307-308, 372-373Dubois, Constantin 291Dullaart, Constant 42, 222Dumke, Sibylla 298Duncan, Zhivago 46, 206, 209,250, 260, 263Dupont - Garitte, Laurent 45, 250, 278

E

Eden Berlin 46, 250, 260, 264, 265Elkoury, Fouad 150, 152-153, 157Emmerich, Hadassah 298, 301Enoki, Yoko 45, 250, 278Essop, Hasan and Essop, Husein 150Evans, Cecile B. 46, 250, 260, 263Evans, Simon 180, 184

F

Fattal, Amir 46, 250, 260Faustino, Rita Medinas 170Feigl, Florian 39-40, 306, 360-363, 382-383Felix & Mumford 170, 172Felix Experimental Group 170Fernandes, Brendan 180, 187Ferrando, Bartolomé 304, 338-341Fischer, Amanda 206Fischli, Peter & Weiss, David 180, 185Fleury, Agathe 206, 291, 294Fliervoet, Maartje 45, 250, 278Flood, Mark 250, 274Fodczuk, Dariusz 302, 324-327Fodor, János 180, 185Fox, Rachel 170

Martin, Frankie 47, 250, 254Friis, Ellen 303Friis, Henrik Vestergaard 302-303, 312-313Funes, Felisa 218-221, 240-243Fusco, Jade 206Futurefarmers 210

G

Gabsi, Wafa 170Galeano, Andrés 28-29, 302-310, 312-391Garratt, Trenton 236, 238Gavin, Francesca 47, 48, 250, 254-259Gianetti, Laura 214-217Gilges, Simone 218, 220Giloux, Marc 302Giordano, Matteo 218, 221Go, Hilary 206Goltz, Sophie 181Greenberg, Amy 206Gregos, Katerina 7-13, 150-161Gresson, Will 236Grossmann, Julien 210, 212Gruber, Assaf 170Gruber, Johannes 291Guasch, Olga Sureda 170Guðlaugsdóttir, Skugga 304, 334-337Gunnes, Mai Hofstad 286, 289

H

Haase, Christine 310, 390-391Hagemann, Elna 298, 301Halonen, Henna-Riikka 286Harlev, Lise 180Haug, Elisa 308Hayes-Chute, Ethan 244, 246Helnwein, Mercedes 206Helsvig, Simen J. 282Henley, Mark 236-239Hennix, Catherine Christer 33-34, 69-70, 80-85Holdt, Jacob 150, 159-161Honigman, Ana Finel 46, 207, 250, 260-265Horn, Achim 291, 292, 295Hovdenakk, Narve 286, 288,289Hungh, Lan 35-36, 307-308, 372-373

i

Iglesias, Helen Acosta 292, 297Imminger, Bernd 291, 294Invernomuto 73, 102-111Isailović, Vladimir 200-205

J

Jankowski, Christian 206, 208Jareunpoon, Jerlyn 210Jecker, Ludovic 291, 292Jeeves, Tim 305, 358-359Jessup, Mary Parker 206Jestrović, Aleksandar 291Jisook, Min 291, 294Johnson, Rin 206Jörres, Klaus 291Juillerat, Pierre 291Jung, Sabrina 298

K

K., Hiwa 140Kakhidze, Alevtina 170Kaldal, Ingvild Hovland 190-195Kannenberg, Daniel 291Karwowski, Antoni 310, 384-85 Kausalainen, Essi 309, 382-383Kela, Leena 303, 314-315Kemp, Justin 170Kessler, Annice 244Kiebacher, Katharina 282, 285Kielczynska, Kinga 42, 218, 220, 222Kim, Jules 46, 250, 260Kimberly Clark 298, 301Kleckner, John 46, 250, 260, 274, 276Kleijn, Babette 291, 292Kline, Christopher 29-31, 73-75, 112-119, 244-249Klotzek, Wilhelm 305, 346-351Kobayashi, Nayoto 210Koerfer, Nuri 298Koh, Terence 46, 250, 260Kohl, Indira Aguilera 170Kohout, Martin 170, 206Kouligas, Bill 244Kramer, Sandra 210Krieg, Bettina 292Kriwet, Ferdinand 180, 188Kröger, Sven 170Krone, James 250, 274

Kruithof, Anouk 45, 250, 278, 291, 292, 295, 298Kryger, Mathias 162-165Kwade, Alicjia 298, 300Kyriacou, Phanos 140, 144-145

L

LaBruce, Bruce 46, 250, 260, 264LaBelle, Brandon 76, 124-125Labrecque, Paul 45, 250, 278, 280Ladia, Lian 210Lanko, Maria 170Lanko, Ola 170Lapid, Ofri 291Lapid, Yaron 286, 288Laric, Oliver 47, 250, 254, 258Larsson, Annika, 298, 301Laschitzki, Heiko 46, 250, 260Ledare, Leigh 46, 250, 260Leifsdottir, Silja 40, 282-285, 292-293, 296-297Leite, Antonia Dias 46, 250, 260Levack, Samuel & Lewandowski, Jennifer 47, 250, 254, 258Levine, David 250, 274, 276Levy, Malcolm 170Lichtenberger, Grischa 140, 149Linz, Pia 140,143Lios, Angela 298Longo, Saverio 308-309, 374-375Lorent, Catherine 298Lorenzen, Darri 42, 222Lyche, Josefine 282, 285Lykkeberg, Toke 53-65

M

Maddalozzo, Federico 140, 148Mahoney, Shon 244, 246Manchego, Veronica 236, 239Mancuska, Ján 180, 184Mandel, Waverly 206Manfredi, Giulia 291, 292Marclay, Christian 47, 250, 254Margani, Mario 174-179, 214-217, 230-235Margolis, Alisa 298Marois, Krystel 170Martens, L.R.J. 45, 250, 278Martin, Benjamin Lee 292, 296

Index of Names — artists and curators

397

Mayo, Tomás & Valor, Laura 196-199 Mazzarol, Xavier 291, 292Mclaughlin, Ryan 244, 250, 274McQuilkin, Alex 46, 250, 260Meldgaard, Anders Lauge 131, 135Menné, Henrik 282, 285Michel, Daniel 170Minn, Elina 303, 316-317Mitchell, C J 303Modig, Kimmo 302, 318-319Moreno, Antonio Ballester 250, 274, 277Morimoto, Seiji 77, 126-127Moulton, Aaron 42-43, 222, 224-225, 227-22Muresan, Ciprian 180Musson, Jayson Scott 47, 250, 254, 259Mwangi, Boniface 150, 156

n

Nagel, Danae p. 298Nakadate, Laurel 46, 250, 260Neukamp, Anne 291Nicholson, David 46, 250, 260Nicolaisen, Terje 250, 251-253Niehaus, Wyatt 170Niermann, Ingo 181Noël, Ann 304Nolan, Ellen 286

o

O‘Connell, Cam 236, 239Olesen, Henrik 180, 185Oppermann, Anna 140, 148Otzko, Ina 286-289Oud, Marlies 210Ovesen, Solvej Helweg 23-52, 130-135, 150-161, 180-189, 306

P

Pale, Mimosa 305, 352-353Parthen, George 292Pascual, Irene 304, 332-333Pask, Henrik 282, 285Peluso, Jim 244Pendleton, Adam 180, 182Perés, Javier 48, 166-169Piasta, Laura 244Pijnappel, Pablo 180, 186Pinho, Luís Albuquerque 170

Pinto, Ana Teixeira 181Ploner, Silvia 140-149Politis, Kathryn 244Pompéry, Sophia 170Porter, Amy 244Pöyhonen, Valtteri 305, 352-353

r

Rallou Panagiotou 298Rapin, Emmanuelle 291, 292, 295Rathke, Beate 291Rathke, Dirk 291Ray, Jen 46, 250, 260Reddy, Sameer 46, 250, 260, 262Redjaian, Haleh 291Reid, Lauren 170Reid, Maeghan 250, 206, 274Reinhold, Sophie 218, 221Riebel, Stefan 291Rimat, Silvia 306, 366-367Rinne, Cia 130-135 Rintelen, Heiko 292Rioux, Erin 206Rixen, Annika 244, 249Roeb, Yvonne 298Roepstorff, Kirstine 45, 298Rolland, Yngvild K. 291, 292Romo, Sebastian 180, 183Rotsztain, Jeremy 170Rouvroy, Julien 291Rozanski, Gregor 170Ruiz, Oswaldo 170

s

Sachau, Benja 42, 222Salomon, Daniel 291, 294Salonen, Elsa 136-139 Salvino, Andrea 174-179Sameshima, Dean 46, 250, 260Sauvage, Tomoko 31-32, 72, 96-103Schäffler, Anna 140-149Schmidt, Aurel 46, 250, 260Schmidt, Hannes 218, 221Schröder, Johannes L. 303-304, 309, 330-331Sell, Andreas 37-39, 309, 378-381Senatore, Marinella 170, 250, 274, 277Shaw, Jeremy 47, 48, 250, 254, 256Shin, Heji 218

Si-Qin, Timur 42, 222, 226, 228Simmer, Maxwell 218Simões, Isabel 210Skauen, Martin 250, 251-253, 298Smebye, Anders 298Snidersich, Jessica 292, 296Soda_Jerk 210, 212Solmsdorf, Juliane 218Soth, Alec 206Stains, Carly 206Stern, Nathaniel 170Stinehelfer, Brina 382-383Stokes, Matt 47, 250, 254Stokou, Despina 28, 40, 42, 44, 45, 250, 266-269, 291, 294-295, 298-301

t

Taccetti, Santiago 170Takuya, Kurihara 206Tas, Nele 45, 250, 278Testing Grounds 305The Drawing Club/ Tegneklubben 250, 251-253The First Collection by Atladóttir & d’Ors 210, 213The Telepathy Project 170, 173Thie, Britta 46, 250, 260Thornburgh, Ainsley 206Titchner, Mark 47, 250, 254Tomomi, Adachi 131Trethewey, Kristin 170Trojan, Stefanie 303-304, 328-329Tudela, Armando Andrade 181Tur, Nasan 140, 143Türkowsky, Marcel 28-29, 34, 68-127, 244, 248

U

Uriarte, Ignacio 42, 206, 208, 222Uzelman, Kara 140, 149

V

Van Dongen, Iris 298 Van Dorpe, Stijn 45, 250, 278Van Hoorebeke, Ada 44, 45, 46, 170, 172, 250, 278-281, 280, 291, 298Van Woensel, Jan 250, 270-273Vanetti, Sidi 291Vasiljeva, Ola 45, 278

Vason, Manuel 303Vogel, Bastian 292Voigt, Jorinde 42, 222, 229Vollgraff, Matthew 76, 120-125Vormann, Jan 140, 146-147

W

Wadden, Brent 244, 248Wang, Victor 210Weber, Andrea 291Wei, Ting Ting 206, 209Werner, Sinta 282, 284, 285Whats to be Done? 180Whelan, Michael John 282, 284, 291, 292Whipple, James 218Woods, Paolo 150, 154Wretman, Helga 218

Y

Yamashita, Mai 210 Yon, Hither 170

Z

Zach, Philip 180, 189Zimmermann, Christina 291

The following exhibitions took place during the making of this publication:

2013

Art BrusselsGrimmuseum presents works by Francesco Cavaliere, Ada Van Hoorebeke and Christopher Kline

The Messages of Gravity – Luca Pozzicurated by Mario Margani

Supermarket - Stockholm Independent Art FairGrimmuseum presents Andrés Galeano

Daddy, YOU can’t make a Cactus... this has been done!curated by Cato J. Dibelius

2012

Empirical Survey on a Heritagecurated by Giusy Sanna and Giovanni Casu

The Others Fair – Turin Grimmuseum presents Christopher Kline

What is it to be Chinese?curated by Katerina Valdivia Bruch

Preview Berlin Art Fair Grimmuseum presents Christopher Kline

Kann Es Liebe Sein?curated by Nora Mayr and Gilles Neiens

NYU Berlin Studio Art MA Thesis Exhibitioncurated by David Darts and Delia Gonzalez

For further information on these exhibitions and upcoming Grimmuseum events please visit our website: www.grimmuseum.com

This is not an index 399

published by

Rosa-Luxemburg-Strasse 1710178 BerlinGermanywww.bomdiabooks.de

Grimmuseum gUG Fichtestrasse 2 10967Berlin Germanywww.grimmusuem.com

All rights reserved. No parts of this book may be reproduced in any form without written permission by the publishers.

1st Edition, 1200 copies

ISBN 978-3-943514-12-4

project managementEnrico Centonze

project co-ordination and editorLouise Franklin Wiberg

language editing and proofreading

Carrie Hampel

graphic design

Andrea Nicolò www.andreanicolo.com

all photography by

Laura Gianetti www.lauragianetti.com

unless otherwise stated

Trevor Good: pp. 286-287Simone Gilges: pp. 222-223Jere Salonen: pp.140-141Björn Reissman: pp. 316-317Matthias Pick: pp. 396-399

photographic editors

Laura Gianettimax-color berlin

© Grimmuseum gUG, 2013

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