Proposal for the Berlin Biennale 2012, ignored by curators (I got no rejection, not even a message whatsoever)
ONE HELLUVA NIGHTMARE Dimensions: appr. 3 x 3 m (variable, can be adjusted accordingly to space).
Living in the area around Gorleben, Niedersachsen, I am directly confronted and affected with the annual transports of nuclear waste to be stored in the unevaluated salt mine. All these deliveries are accompanied by huge protests. The concept of the installation results in a collection on aesthetics that relate to a complex and interconnected local reality: Pro Gorleben as a permanent storage depot versus against such plans. The conflict of interests goes as far as splitting families and friends in the affected area about opposing opinions and convictions. My installation work deals with social, political, and environmental topics. I refer to it as “projects”, rather than “artworks” - working like a field-investigator, doing a lot of research, and reflecting on my own involvement in this process. My art should be a connection to people, and a contribution to making more sensitive towards certain issues. If I would put myself into a drawer, I would say I am “green/leftwing” - social activism behind my creative acts not absolutely excluded.
Portraying the socially and politically relevant view of said situation, the piece shows a boxing ring, surrounding a split-in-half floor (would be nice if the real floor on site could be split). On the bottom of the crack is a layer of salt blocks. The floor is covered with paper layers that express the respective meanings, split up into the pros and cons, and equipped with a small cut-in-half carpet. On these two carpet-pieces is laying one boxing glove at a time. The whole scene is just slightly covered with a sprayed “nuclear content” warning sign.
Proposal for the Berlin Biennale 2012, ignored by curators (I got no rejection, not even a message whatsoever)
ONE HELLUVA NIGHTMARE Dimensions: appr. 3 x 3 m (variable, can be adjusted accordingly to space).
Living in the area around Gorleben, Niedersachsen, I am directly confronted and affected with the annual transports of nuclear waste to be stored in the unevaluated salt mine. All these deliveries are accompanied by huge protests. The concept of the installation results in a collection on aesthetics that relate to a complex and interconnected local reality: Pro Gorleben as a permanent storage depot versus against such plans. The conflict of interests goes as far as splitting families and friends in the affected area about opposing opinions and convictions. My installation work deals with social, political, and environmental topics. I refer to it as “projects”, rather than “artworks” - working like a field-investigator, doing a lot of research, and reflecting on my own involvement in this process. My art should be a connection to people, and a contribution to making more sensitive towards certain issues. If I would put myself into a drawer, I would say I am “green/leftwing” - social activism behind my creative acts not absolutely excluded.
Portraying the socially and politically relevant view of said situation, the piece shows a boxing ring, surrounding a split-in-half floor (would be nice if the real floor on site could be split). On the bottom of the crack is a layer of salt blocks. The floor is covered with paper layers that express the respective meanings, split up into the pros and cons, and equipped with a small cut-in-half carpet. On these two carpet-pieces is laying one boxing glove at a time. The whole scene is just slightly covered with a sprayed “nuclear content” warning sign.