Sleights
Multiple Self Exposure
Produced in Collaboration with Photographer Roman März.
Object Marker, Motor, Glue
Exploring the Disappearance of artistic Authorship behind the Piece: Terby is a dumb Object. Just like the same-named Protagonist in Bret Easton Ellis’s ‘Lunar Park’, it aggressively rotates around itself leaving behind no more than black Traces.
Spatial Work, Environment Print {200×300 cm}, Acrylic on Wall, Balls / Dimension variable
A Collaboration between Jan Pautsch.Lilienthal, Veysel Oender {Amok} and Roman März.
“‘The Black Hit of Space’ is an Experiment, an experimental Design Set Up in order to find out what emerges from the close Collaboration between a Photographer, an Ex-Writer and an Artist. What happens, if three individual forms of artistic Expression co-occupy a Space? And, what if the title ‘The Black Hit of Space’ serves as the Inspiration to the Project? The Outcome is a room-encompassing Installation - both attacking and absorbing. An interplay of Forces, that distinctively continues in our further Projects.”
BLAKHTFSP3 {TheBlackHitOfSpace™}
“When the Exhibition, ‘BACKJUMPS – The Live Issue’ opened, it hit like a Bomb. Within six Weeks up to 12,000 visitors wanted to see the Rooms decorated by Street Artists of the Kunstraum Bethanien in Berlin.” Die Zeit.de
BACKJUMPS - The Live Issue #3, Urban Communication und Aesthetics, Kunstraum Kreuzberg/Bethanien, Berlin
Participating Artists and Projects: Anti privé, AKIM ONE NGUYEN, ASH, Blu, CEMNOZ, CUBABRASIL - Berlin, Dave the Chimp, Brad Downey, Graffitimuseum, HuskMitNavn, Jay One Ramier, Carlos Mare139 Rodriguez, Mode 2, NOMAD, Migratory Birds of the Solovei Republic, Reclaim your City, Oliver Rodriguez-Kroll, SKKI, StudioAnti™, Study of Style, Surrend, Daniel Tagnoe, Veysel Önder/ Jan Pautsch.Lilienthal BLAKHTFSP3 {TheBlackHitOfSpace™}, ZEVS
Press Feedback: art-in-berlin.de / spex.de / de-bug.de
Publication: BACKJUMPS: The Live Issue #3
Object Coaldust, Paraffin, Curd Soap, Mirror Display
‘Black and White’, ‘Good and Bad’, ‘Clean and Filthy’ - Taking into Account such last-century Terms, {rotationstwin} liberates Products from their primary Coding in Order to provide Scope for continuous Development, and thus, give Way to entire new Dimensions of the Here and Now.
sin-berlin, a unique Exhibition-Cum-Shop in Berlin, offered Products from various Manufacturers in limited Editions - exclusively designed for a one-month-only Exhibition in a very special Showroom.
‘Opening for a Month in Berlin’s trendy Mitte District, the Project also known as “sin-berlin” is a curious Mixture of Exhibition and Shop, where more than 70 international Designers, Architects and Artists will create unusual Products exclusively for the aforementioned Department Store.’
Press Feedback Berliner Morgenpost / Deutsche Welle / Die Welt
Audiovisual Installation Helium filled illuminated Ball, Ticker Projection, Sound
‘The full Moon above the Glass Box, as well as the hoarse electronic Voice of the Computer Brain from Godard’s Film ‘Alphaville’, that calls out every so often, both combine with the Architecture of the technical Monument - ‘Science Fiction or Moon above the Kurfürstendamm’ delivers an absurd Statement on the Hype and Glamour that determined the Turn of the Twentieth Century and, at the same Time, initiates a romantic Element to the omnipresent Take-Over of Power through electrical Machines and Devices. Dr. Ute Tischler, Curator ‘countdown west 2k’
countdown west 2k / Traffic Station, Kurfürstendamm
A Project by Triad Berlin for Reemtsma
Press Feedback Berliner Zeitung
Audiovisual Installations / Spatial Works, Machines, Models
Götterdämmerung Postmoderne Sensibilia Kameralmat ONTOM Atlantis N O NAME CO. Morgenlandduft Tafelbilder, Tomaten, Transpiration DAZED & CONFUSED The Luminous Image WUNDERKAMMERN Der Stein aus dem All post naturum Augenladen Leipziger Sezession Dead Poet Dreaming Aufstieg und Fall der Moderne Esprit today Das Archiv Franz Kafkas DO ALL OCEANS HAVE WALLS? Figur Weiblich Der Gestus des Fliessens Desire and Demand CS|VI Im Kaleidoskop Die Unruhe und die Zufriedenheit oder die Tragödie des Scheiterns Contenance Ground Das Grosse Dadagluten Bestiarium Nr.1 Blizzard seventyseven Mehr als ich The art of vision FORMALISMUS System höherer Vernunft SUPERmarkt DAS MÄDCHENZIMMER DAS BESTECK DES MARQUIS DE SADES Restpfennigaktien Zolpereien IN VITRO künstliche Bedenken Tief in Material eintauchen, dort wo alles zerrinnt 8×8x8 SEHENSEHEN Mundgerecht Rheingold Radarraum Strategien der Verweigerung Die Spur des Sublimen Erinnerungen an den Zufall Das geheime Museum des Führers Arbeiten im Dunkeln re.edit Winnetou Dig, Dag und Digedag DER ELEKTRISCHE KRIEG Die Gleichzeitigkeit des Anderen Groß einsteigen und dünn auslaufen Inszenierung einer Ansammlung Das Zimmer Gregor Samsas m.e.s.s.a.g.e. Störtebeckers Kopf Schloß der Obsessionen BIG BLUE Regel und Abweichung BLAST THEORIE Der getanzte Luis der XIV. tanzt drinnen und draußen CRYMOG Malbund ni Nicht Summe, nicht Synthese Quintessenz! ZAHLEN, NUMMERN, ZIFFERN Das Eingemachte SPACE PILOTS: Ziolkowski meets Janke VON DER WIRKLICHKEIT DES TRAUMS Zeichen/Fluten/Signale Zeit der Götter Auge um Auge Das Konzert des Äon Applausmaschine Der Ort/die Zeit/Das Plus Die Bombe und der Geist
“The Magic that derives from electronic Devices within the Process of creating Reality - including Art - is reduced on the Surface and, eventually, obliterated. Taking apart the Object’s visual and functional Integrity, the Artist equally causes the Disappearance of some sort of semantic Profile. Lilienthal’s Cut isolates the Spectator from the visual Experience by using a Rewind-Mode. One can’t see, or can hardly see, anything. At this crucial Point, the Artist [such as Siegfried and Roy] tries to catch all the People within the Audience who do not believe in Magic.”
Dr. Ute Tischler, Curator
Five Works in Reference to Dave Hickey
[This Mortal Magic / Essays on Art & Democracy]
Parkhaus, Berlin
Object Moving Message Boards, Photograph,
Excerpt from Richard Prince: The Perfect Tense, Why I Go to the Movies Alone
‘She had to be condensed and inscribed in a Way that his Expectations of what he wanted her to be, {and what he wanted to be too} could at least be possibly, even remotely, realized. Overdetermination was Part of his Plan and in a strange Way, the same kind of psychological After-Life was what he loved, sometimes double loved about her Picture.’ Richard Prince: The Perfect Tense, Why I Go to the Movies Alone, Tanam Press, N.Y. 1983
