Fusion Catalogue

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Fusion The Dubai Berlin Artist Exchange Project

Curated by : Sam Bardaouil

Copyright Š 2008. Sam Bardaouil The copyright of the text and images is held by their respective authors. Front Cover: Irene Boghdadi Title Page and Package Design: Karla Cantalejo Layout Design and Typography: Mariam Alhamrani, Salma Nour, Shamsa Horaiz Production Manager: Ahmed Abou - Chaaban All rights reserved. No part of this catalogue may be reproduced in any form and by any means without the written permission from the authors. Printed in Dubai, 2008.

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C o n t e n t s

Roberto Lopardo Lamia Gargash Sam Bardaouil

Dubai Artists

Cur ator Hind Mezaina Amna Almadani

Christian Sievers Marc Groszer

Tashkeel

Berlin Artists

Galleries Sebastian Graefe Emerson Gallery Berlin

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Rolf Giegold

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Curator

Sam Bardaouil

Sam Bardaouil Šphoto Hazem Mehdi

Another regular day on the city’s ever changcognitive. Leonardo idolized art considering labyrinth of streets. Scorching heat, risks ing it a science, the true-born child of nature. of dehydration, hence an Evian in my bag. But could he have become the consummate ;1 9 2@@ =.6 ? @ <3 9 6 =@ 7<9 A 6 ;4 <; A ? .R 0 @A ? 6 08 2; Renaissance model, assuming his canonical faces pass me by as I purposefully stare out K@B=2? @A .? L @A .A B@ 6 ; A 52 56 @A <? F <3 .? A 5.1 6 A from my less than elegant vehicle. Lips that not been for a 200 year old legacy of subjectighten and press swell and shrivel and make tive patronage embodied in the house of all sorts of Miro-like shapes as they divulge Medici? So many incidents spring to mind. their verdict of the city which has bestowed The Catholic iconophiles of the 17th century upon them the magnanimous space in which were embracing the truth represented by A 52F @< ;<;05.9 .;A 9 F PB A A 2? K%5 A N@ @< those very religious images that were rejected .? A 6 O06 .9 L by the Protestants for they are, in Luther’s words, deceiving and worthless. The aesthetAnother opening night at one of the city’s 6 0 K/6 08 2? 6 ;4L <3 B: 2 .;1 ! .;A @A 6 99 ? 2@<;.A 2 budding art spaces. Searing remarks, prosin every random discussion on the parameters pects of intellectual over-dozing due to <3 /2.B A F 1 <B.? 1 #.;2A N@ K%9 F : =6 .L .;1 heightened exposure to verbal diarrhea by K H72B;2? (B? " N 2? /2L .? 2 2E 2: =9 .? F <3 .; self declared art gurus. Sages of all races artist’s trial to convey the reality of his own engaged in an undeclared contest of spotting time while using the codes of an established the emperor’s new clothes. ‌ And those same culture, long associated with  true  art in assiduous lips, ever so diligent in proclaiming order to instill within his work a measurable their constant ruling... Needless to say, the sense of recognized authenticity. Duchamp’s 0B9 A B? 2 .@ D299 6 @ K@< 3.8 2 L %? @< A 52F @.F K <B;A .6 ;L D6 ;;6 ;4 A 52

)B? ;2? =? 6 G 2 3<? A 52 : <@A 6 ;P B2;A 6 .9 .? A D<? 8 F 2.? @ .3A 2? 6 A D.@ O? @A 16 @=9 .F 21 6 @ F 2A <;2 : <? 2 @A ? 6 86 ;4 L)52 0<? ? 29 .A 6 <; /2A D22; A ? B A 53B9 ;2@@ .;1 example. Heidegger’s brilliant comparison art, between authentic cultural representa/2A D22; +.; <45N@ K(5<2@ L .;1 .; tion and the epistemology of the aesthetic ancient Greek temple also comes to my mind. experience, has always been a hot topic of The humdrum universe of the destitute farminquiry for countless artists and philosophers. er is a far cry from the exhilarating divinity of Plato, for instance, claimed that artists are the shrine’s reality. Yet, both works boast an only dishonest imitators of appearances so immediate sense of truth, and provide their art, therefore, can never achieve truth. His audience with an untarnished picture of the pupil Aristotle, however, found in art the historical cultures in which they exist. Such is capacity to represent aspects of reality that A 52 A .@8 <3 . KA ? B2L D<? 8 <3 .? A .A 9 2.@A .00<? 1<A 52? D6 @2 0.; /2 A << 16 R 0B9 A A < 16 42@A .;1 ing to Heidegger. therefore instruct us of certain truths that we would have otherwise missed. Art becomes

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Right: Vincent Van Gogh Farmers Shoes 1888 6PS VU *HU]HZ Above: Sultan Muhammad Prophet’s Ascension (Miraj) Khamsa of Nizami (+

When pondering the makings of crossJ\S[\YHS KPHSVN\L VUL JHUÂť[ H]VPK [OL KLĂ„UPUN VM ¸ZLSM š SVUN ILMVYL ]LU[\YPUN PU[V [OL pursuit of any understanding of the other. Truth of the matter, at the risk of sounding like a philistine to the more sophisticated: Art is a mirror. That which you are beholding PZ UV[OPUN I\[ H ZOLLY YLĂ…LJ[PVU VM ^OV `V\ are. And sometimes we don’t like what we see. So, instead of engaging in an unbiased search for truth, we opt for denial and rejection regressing into outrage. When a work of art manages to involve you, to aggravate `V\ `V\ ^PSS JLY[HPUS` Ă„UK `V\YZLSM YLHJ[ing. A whole gamut of responses, sometimes long dormant, is summoned out. No longer perceived as a mere bunch of lines and brush strokes hanging on a wall, the work lures you PU[V HU HJ[ VM JVTWSPJP[t ^P[O P[ VY H JY\ZHKL against it. What was, just a few minutes ago, a harmless assembly of shapes and colors has now transformed into a comrade or foe: A real force to be reckoned with. You’re in the domineering presence of an autonomous identity that could either be the embodiment of your most sacred values or their potential ¸;LYTPUH[VYš 0 YLJHSS JLY[HPU PUJPKLU[Z ^OLU walking through an art gallery felt more like being caught amongst a crowd of frustrated activists, unleashed after years of captivity. But at the end of the day, your only opponent is yourself. You end up being your self ’s worst LULT` Ă„NO[PUN HNHPUZ[ `V\Y V^U L]VS\[PVU For when art challenges you, shakes your comfort zones and contradicts you, how will you debate with it, and ultimately with yourself? This is the crux of any dialogue between cultures. And it is the mustering of the ability

[V LUNHNL ^P[O [OL ZLLTPUNS` ÂşHSPLUš [V VULÂťZ self that one embarks on a dialogue between cultures. Art history, however, reeks with less restrained incidents where the parties PU]VS]LK ^OLYL HU`[OPUN I\[ ¸+PHSVN\L PUNš 0[ ^HZ TVYL SPRL +PL (SVUNPUN :\JO L_HTples of failed communication always manifest themselves in either, acts of solidarity with or rejection of art works and the cultural values they embody. During the Second World War, for instance, in Nazi-occupied Paris, a simple Louvre curator risked death on a daily basis while spying on the German troupes. The Nazis took photos of all the art they were stealing and JVUĂ„ZJH[PUN HUK ^LYL Z[VYPUN P[ H[ [OL ¸1L\ KL 7H\TLš ,]LY` UPNO[ PU VYKLY [V JYLH[L H YLSPable inventory to be used as crucial evidence later on, Rose Valland would smuggle the negatives out of the museum and make copies of them. During the day, she would resume her duties at the museum looking after the THPU[LUHUJL Z[Hă HUK ^H[LYPUN [OL WSHU[Z" an act that could have had her instantly shot, easily, or had her shipped into a concentration camp. In 1999, when British artist, of NigeriHU KLZJLU[ *OYPZ 6Ă„SP WHPU[LK OPZ ¸/VS` =PYNPU 4HY`š \ZPUN LSLWOHU[ K\UN +LUUPZ /LPner, a 72 yr old retired school teacher, sneaked into the Brooklyn Museum and thrashed the art work with white paint. More indignation from various factions prompted Rudy Giuliani, New York City’s mayor at the time, to wage a court of law against the museum, asking for immediate closure of the exhibition and the withdrawal of public funding. The city lost and was instructed to pay a further

TPSSPVU PU JHWP[HS [V [OL T\ZL\T 6U 4H` [O [OL ^OVSL ^VYSK ^HZ ZOVJRLK I` [OL HZZHZZPUH[PVU VM +\[JO Ă„ST THRLY Theo Van Gogh (descendant of Vincent Van .VNO /PZ Ă„ST ¸:\ITPZZPVUš OHK VI]PV\ZS` JH\ZLK ZVTL WLVWSL [V ¸YLHJ[š Z[YVUNS` LUV\NO [V HJ[\HSS` RPSS OPT >YP[[LU I` (`HHU Hirsi, an ex-Muslim Somali refugee who ILJHTL H +\[JO WHYSPHTLU[HYPHU [OL Ă„ST features images of semi naked women with Koranic verses written on their skin. Drawing from her past experience, Hirsi wished to expose the abuse of women in certain Islamic ZVJPL[PLZ 6U H TVYL WLYZVUHS UV[L UV^ PZ my pretentious attempt as a curator to align T`ZLSM ^P[O L_HTWSLZ VM OPZ[VYPJHS ZPNUPĂ„cance), I will never forget the day when one of my college students called me a liar when I decided, so excitedly, to show the class slides VM H :HMH]PK 2OHTZH VM 5PaHTP attributed to Sultan Muhammad, a master painter of that period. The whole misfortune was prompted by an illustration of the 7YVWOL[ YPKPUN OPZ T`[OPJHS TV\U[ ¸)\YHXš VU [OL UPNO[ VM ¸(S PZYHHÂť ^HS TPÂťYHHQš 0[ PZ common knowledge that in Islam, it has been traditionally forbidden to make any drawings or images of the prophet Muhammad, or any other prophet. But that was not the case in :HMH]PK 0YHU +\L [V [OLPY YVV[PUN PU H :\Ă„ VYKLY MV\UKLK HYV\UK I` :OLPRO :HĂ„ HUK despite converting to Shiism in the mid 15th JLU[\Y` [OL` THPU[HPULK :\Ă„ZTÂťZ ZWPYP[\HSist approach to religion, thereby acquiring a progressive and liberal stance on the daily HWWSPJH[PVU VM YLSPNPV\Z SH^ ¸ZOHYPÂťHHš ;OPZ HWWYVHJO ^HZ YLĂ…LJ[LK PU HSS HZWLJ[Z VM [OLPY culture, including their aesthetic sensibilities.

However, in other Muslim communities, where more extreme interpretations were adhered to, it was strictly prohibited to even depict any living being or thing as this would IL JVUZPKLYLK HU HJ[ VM KLĂ„HUJL [V (SSHO [OL only one capable of creating and giving life. For instance, it was a perfectly reasonable and common practice for miniature artists in 12th century Iraq and Syria, upon the completion of a painting, to draw a bold line cutting across the necks of any depicted human (or HUPTHS Ă„N\YLZ ;OPZ ^HZ H [HUNPISL HZZLY[PVU of the inanimate, lifeless nature of the work of HY[" H ZVJPV YLSPNPV\Z VWPUPVU VU HY[ H[ SHYNL 0 was in no way expecting, though, that it was my own neck’s doing in that was going to be the hope of many on that ill-fated day. While putting this cross cultural exchange project/exhibition together, I couldn’t help but wonder: What is it that makes us always ZLLR TVYL" [OH[ JVUZ[HU[ ZLUZL [OH[ ¸ZVTL[OPUN PZ TPZZPUNš HS[OV\NO ^L WYVIHIS` OH]L much more than many would even care to OHUKSL PU [OL Ă„YZ[ WSHJL& 0[ L]LU[\HSS` VJcurred to me that we are either deluded utopianists, searching for Plato’s ideal state, both internally and externally, or maybe, somewhere deep within our genetic make up and our double helix DNA strand, is a special gene tucked away, hidden from the rest of the world and only perceivable to those, who like us, are wanderers in this expanse of cultures, political ideologies and geographical demographics‌ It is the second possibility that rings true in the works of the artists displayed OLYL" H WYLKPJHTLU[ [OH[ THU` SPRL `V\ HUK me are constantly plagued with. Bottom

SPUL ^L JHUÂť[ OLSW P[ >L HYL VU[VSVNPJHSS` inclined for growth, evolution, the discarding of what is taken for granted, the shaking of our (and of others) comfort zones. In the foremost essence of who we are, we have been ordained by some providence [V KHYL PTHNPUL ^OH[ PZ KPăLYLU[ 6UJL our lives seem to start settling down or [HRPUN H MYPLUKS` JV\YZL ^L Ă„UK V\YZLS]LZ willingly, and better yet, subconsciously overhauling any familiarity and replacing it with complex unfriendly conditions and VUS` [OLU KV ^L MLLS HSP]L 0U V[OLY ^VYKZ we are intellectual and emotional ascetics: An endangered breed of cultural masochPZ[Z (UK ^L Q\Z[ SV]L P[ÂŻ By the way, in case you were still wondering about what happened to my student, I did what everybody else seems to be doing these days: I simply told her to blame it on 0YHU Sam Bardaouil Rome, 2008

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Sam Bardaouil Cross Cultural Hero 2008 Digital Photography and Collage

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Lateefa Bint Maktoum Director of Tashkeel

The role of arts and culture in the society of the United Arab Emirates in general, and Dubai in particular, is developing at a rapid pace. As part of this process, we believe that it is essential that artists and designers working in the region see their work in both a national and international context. When Sam Bardaouil approached Tashkeel with a view to our hosting the UAE stages of these artist exchanges, it was an unexpected proposition in such an early stage of our development. However, it took no more than a few minutes for us to recognize that his proposal was in perfect harmony with the mission of Tashkeel to encourage the work of practicing artists in the region, and would provide a catalyst for our own development, as well as an amazing opportunity for creative interaction between participating artists. The opportunity to work with such experienced institutions as the American University in Dubai, the Volume Foundation, in Rome, and the Goethe Institute, in Berlin, encouraged us to take part in this exciting initiative and we are grateful to them for the 2;A 5B@6 .@: .;1 0<;O1 2;02 A 52F 5.C 2 @5<D; 6 ; <B? P 21 49 6 ;4 <? 4.;6 G .A 6 <; , 2 .? 2 0<;O1 2;A A 5.A 2E 05.;42@ @B05 .@ these will strengthen and enrich the work of artists in the UAE and that by exposing the work of UAE artists to an international audience, and vice versa, will encourage a greater recognition of the similarities between .? A 6 @A @ 3? <: 16 Q 2? 2;A 0B9 A B? .9 /.084? <B;1 @ .;1 4? 2.A 2? ? 2@=20A 3<? A 52 16 Q 2? 2;02@

K& <;1 2? 6 ;4L 2007 Digital Photography

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Tashkeel, an innovative hub for the creative, and international context. D.@ 2@A ./9 6 @521 6 ; .;B.? F

A < @B==<? A When Sam Bardaouil approached Tashkeel and encourage artists and designers working with a view to our hosting the UAE stages of 6 ; A 52 ? 246 <; .;1 A < B;6 A 2 .? A 6 @A @ <3 16 Q 2? 2;A these artist exchanges, it was an unexpected ages and varied experience. Through its proposition in such an early stage of our extensive facilities, Tashkeel aims to meet development. However, it took no more than A 5? 22 @=206 O0 ;221 @ a few minutes for us to recognize that his - To provide a place and the facilities for artists proposal was in perfect harmony with the to make work, mission of Tashkeel to encourage the work - To provide a venue for artists to exhibit work of practicing artists in the region, and would - To create an opportunity for artists to meet provide a catalyst for our own development, other like-minded creative people. as well as an amazing opportunity for creative Specialist facilities include a MAC studio, interaction between participating artists. equipped with the latest creative software, large The opportunity to work with such format digital printing, jewelry workstations, experienced institutions as the American painting studio, photographic studio and University in Dubai, the Volume Foundation, darkroom, printmaking, textile printing and in Rome, and the Goethe Institute, in Berlin, 3-d workshops. Painting, drawing studio and encouraged us to take part in this exciting environmental works can also be made in the initiative and we are grateful to them for the garden. In addition to open-access studios, 2;A 5B@6 .@: .;1 0<;O1 2;02 A 52F 5.C 2 @5<D; 6 ; ).@58 229 <Q 2? @ . =? <4? .: <3 6 ;A ? <1 B0A <? F <B? P 21 49 6 ;4 <? 4.;6 G .A 6 <; workshops in each of the specialist disciplines , 2 .? 2 0<;O1 2;A A 5.A 2E 05.;42@ @B05 .@ and is developing a series of master classes, to these will strengthen and enrich the work /2 1 29 6 C 2? 21 /F >B.9 6 O21 : 2: /2? @ .;1 C 6 @6 A 6 ;4 of artists in the UAE and that by exposing artists.v the work of UAE artists to an international The long-term ambition for Tashkeel is audience, and vice versa, will encourage a that it will grow to be a lively and pro-active greater recognition of the similarities between community of artists and designers, nurturing .? A 6 @A @ 3? <: 16 Q 2? 2;A 0B9 A B? .9 /.084? <B;1 @ emerging talents, facilitating the exchange of .;1 4? 2.A 2? ? 2@=20A 3<? A 52 16 Q 2? 2;02@ ideas and expertise, fostering collaborative projects and encouraging cross-cultural interaction and co-operation. The role of arts and culture in the society of the United Arab Emirates in general, and Dubai in particular, is developing at a rapid pace. As part of this process, we believe that it is essential that artists and designers working in the region see their work in both a national

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; .B A B: ;

# '(%$ .99 2? F 2? 9 6 ; 6 ;C <9 C 21 A 52 (B: : 2? 2@A 6 @ A 526 ? O? @A <=2;21 6 A @ 1 <<? @ 3<? A 52 O? @A A 6 : 2 A < =? 2@2;A <==<? A B;6 A F A < <Q 2? A 526 ? .? A <B A @6 1 2 A 526 ? <D; contemporary art exhibitions in Berlin’s country just as for many of our guests it is their B=@A .? A K#6 A A 2L 16 @A ? 6 0A ; A 52 52.? A <3 A 52 06 A F O? @A 2;0<B;A 2? D6 A 5 A 52 0B9 A B? 2 .A 5.;1 6 ; A 52 2E A 2;1 21 4.99 2? F 9 <0.A 6 <; K#6 A A 2$<? 1 K EGB’s Intermezzo series follows a similar between TorstraĂ&#x;e and InvalidenstraĂ&#x;e, .==? <.05 6 ;A 2;1 21 A < <Q 2? ;2D <==<? A B;6 A 6 2@ # '(%$ .99 2? F 2? 9 6 ; <Q 2? @ ;2D .? A for up-and-coming and undiscovered artists with particular emphasis on artist positions who in many cases have never had their own to social issues. The gallery’s director, solo exhibitions. The series runs with up to four Russell Radzinski, is a New Yorker who has short exhibits per year, each lasting a compact put together a Berlin team to discover new seven to ten days between exhibitions in the directions in art by primarily younger artists. gallery’s normal art program. The Intermezzo The gallery’s program is not constrained by series serves to open up a new audience for attention to any particular artistic medium, innovative, often unconventional artists, rather, the common denominator is strong whose work frequently diverges dramatically artistic expression with a focus on artists’ from the approaches of the gallery’s regular standpoint to contemporary society as a means program. of public discourse. Last but not least exhibitions in the The gallery’s focus on standpoints to society # '(%$ .99 2? F 2? 9 6 ; .? 2 @B==9 2: 2;A 21 is expressed through the unique features of its with a cultural program consisting of literary .0A 6 C 6 A 6 2@ N@ <Q 2? 6 ;4 <3 9 6 :6 A 21 21 6 A 6 <; .? A readings, performances and roundtable works is a case in point. With each exhibition discussions designed to encourage a an edition of up to 50 pieces is issued for a dialogue with gallery visitors. Through these =? 6 02 <3 B= A <

B? <@ )52 0<;02=A 6 @ A < accompanying events the art exhibited is make collecting of high-quality, cutting-edge meant to be actively discussed and not simply .? A .C .6 9 ./9 2 .;1 .Q <? 1 ./9 2 A < . /? <.1 2? viewed or consumed passively. audience. At EGB, the program of standpoints to In a similar fashion the gallery hosts its annual society is a matter of communication: bringing Summer Fest of International Art. an open, inquisitive audience together with Every year, for four to six weeks, when some of the most interesting work today’s art most galleries are enjoying a well-deserved D<? 9 1 5.@ A < <Q 2? D<? 9 1 D6 1 2 rest from organizing exhibitions, EGB invites # '(%$ .99 2? F 2? 9 6 ; 6 @ .9 @< A 52 a collection of artists and performers from a exclusive provider of the Corporate Supporters selected country to present the newest trends Program, a program designed to integrate the intheir culture. Not only visual arts, but also worlds of art and corporate business. music, theater, poetry and even occasionally the cuisine of the chosen country are presented Kßnstler der Galerie to a European audience. For many of those

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Transcending All Boundaries Transcending all boundaries, Art is a perfect medium for bringing together cultures, minds and people. By supporting local artists to go abroad whilst welcoming international artists to Dubai, the Tashkeel Artists Exchange Program establishes an ideal platform to showcase creativity within the context of developing cross cultural dialogue. With a mission of building a bridge between the cultures of East and West, the Chalhoub Group is proud to lend its support to the Tashkeel Artist Exchange Program, which facilitates this exchange of talent and cultural experiences. As an Ambassador of luxury lifestyle, representing leading brands in the region for over 52 years, we have developed an appreciation for craftsmanship and creativity that has inherently led to a special .R 9 6 .A 6 <; A < A 52 ? A @ )52 =? <4? .: .99 <D@ B@ A < 2E 2? 06 @2 <B? Corporate Social Responsibility by providing us an opportunity to contribute to the evolution of the UAE’s cultural fabric through art. The United Arab Emirates is pioneering its way to becoming an axis for Arts and Culture in the region and we are therefore very pleased to be associated with Tashkeel in collaboration with the American University of Dubai for this inspiring initiative. Patrick Chalhoub % % 5.9 5<B/ ? <B=

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Dubai Artists. Dubai Artists. Dubai Artists. Dub

Lamia Gargash. Hind Mezaina. Amna Almadani. Roberto Lopardo.

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Lamia Gargash UAE

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Hello my name is Lamia with an I. 0 HT HU HY[PZ[ 0 HT H ÄSTTHRLY 0 HT H WOV[VNYHWOLY HUK [VTVYYV^ 0 ^PSS IL H JVVR 4` WLYZVUHSP[` PZ VUL ^OLYL 0 ZLL T`ZLSM ^HU[PUN [V IL \UKLY[HRPUN KPăLYLU[ WLYZVUHSP[PLZ H[ [OL same time. I hang around with vegetarians and the next thing you know I declare my conversion [V ]LNL[HYPHUPZT" T` H[[LTW[Z ^LYL \UZ\JJLZZM\S I\[ 0 ^PSS HS^H`Z IL WYV\K VM ILPUN VUL MVY two hours. Sometimes I do not recognize who I am but I do know that I am never bored. I also want to be involved in as any things as I can get my hands on. The notion of only being only a ÄSTTHRLY PSS\Z[YH[VY VY WOV[VNYHWOLY IVYLZ TL HZ 0 ZLLR [V L_WSVYL V[OLY YLHSTZ [OH[ OLSW PU conveying my message. Tomorrow I shall cook my project, and I will patiently look through the NSHZZ VM [OL V]LU HZ T` WHPU[PUN PZ NSPZ[LULK ^P[O OLH[" 0 T\Z[ HKTP[ P[ KVLZ UV[ ZTLSS [VV NVVK For now I have settled to being an artist, a task that does not limit my ambitions to creating the many thoughts swimming around in my head. Many always found me weird, and found my WH[[LYU VM [OV\NO[ ^LPYKLY 3P[[SL [OPUNZ HT\ZL TL SPRL HWWS`PUN T` ÄUHS THRL\W [V\JOLZ PU the morning before going out. Yes, I admit I am a girly girl at heart. Colors, fashion, jewelry all feed my fashion hungry soul. But shopping one of my greatest activities in life bringing great joy to my soul, is nothing compared to prancing around a dump capturing the beauty of trash in the beautiful morning light. My artistic schizophrenia means that I am able to see the world in multiple perspectives. The banal and normality of everyday life is an exciting world for me. It is scary to know that as visual people we are unable to look at things as they are, our minds HS^H`Z ÄUKPUN KLLWLY JVUUV[H[PVUZ [V [OL UVYT 0[ PZ OHYK MVY TL [V NL[ V]LY OV^ ILH\[PM\S [OL SPNO[ ZOPULZ VU [OL ZVJR 0 OH]L [OYV^U VU [OL ÅVVY HM[LY HU PU[LUZP]L ^VYRV\[ 0 JHU»[ OLSW I\[ Z[HYL H[ P[ SLH]PUN P[ \U[V\JOLK VU [OH[ JVSK THYISL ÅVVY 4` TV[OLY JVTLZ PU [OPURPUN 0»T HU absolute nut and makes me throw it in the laundry basket. Having graduated from AUS and Central St.Martins, I had discovered that there is no such thing as a balanced visual creator. We can live on two hours a day and produce so much work, or we can hibernate in our den until

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3LM[! ¸3VUKVU¹ 2006 Mixed Media Photography 9PNO[! ¸(UPZOH¹ 2007 Veiling with Light series

^L ÄUK ¸[OL PKLH¹ HUK ZVTL[PTLZ ^L Q\Z[ TPZZ V\[ VU ZWYPUN ;V TL T` J\S[\YL HUK OVTL PZ [OL root of all my WYVQLJ[Z 0 RUV^ [V THU` [OH[ ZV\UKZ JOLLZ` HUK JSPJOt I\[ ^VYR JHU VUS` IL strong if we are honest about who we really are. My BA photography professor would kill me if I had mentioned my love for sunsets and my friends will be disappointed to know how much I hate teddy bears and receiving them for events like birthdays. My projects have been expressed through photography, videos, and illustration and digitized art. If there is anything that my work OHZ PU JVTTVU P[»Z [OL JVUJLW[ VM PKLU[P[` HUK ÄUKPUN T`ZLSM PU P[ +LWLUKPUN VU T` MLLSPUNZ towards a project, I pick a medium comfortable with my concept. Sometimes I am so intrigued with photographing what is circulating around me that my camera never leaves my side. I once took 2000 pictures in two days and my brother had warned me, after harassing him with it, that he will destroy my camera, I ended up with interesting shots of feet. Documentation is an extremely important part of my life, I make sure to always label my cds and work jotting down the exact place, date and time This attachment has become an obsession. At least I utilized it well, when it came to producing work. My projects in the past two years have been undertaking documentary like approaches. 6UL ^HZ H YLJVYKPUN VM HIHUKVULK ZWHJLZ [V L_WYLZZ [OL UV[PVU VM SVZZ VM J\S[\YL HUK PKLU[P[` through urbanization. How culture is being altered as the country is progressing and how we are unable to notice these changes because we are too endorsed in it. The second was in relation [V [OL ]LPS HUK H[[LTW[PUN [V YLWYLZLU[ KPăLYLU[ JOHYHJ[LYPZ[PJZ [OH[ L]LY` MLTHSL IYPUNZ [V [OL veil. How veiled women are able to express their individual natures through it breaking down stereotypes that it is boring, harsh and oppressive. How the veil is human, and a lot of the times it is a choice rather than enforced expectation. Yes a veiled woman, smiles, laughs, cries and even smokes if she wants to, who has a right to alienate them from the world around? Who dictates [OLZL Q\KNTLU[Z HUK HZZ\TLZ [OL YPNO[ [V JYP[PJPaL& 4` YVSL PU IV[O PZ H ]V`L\Y PU[V [OLPY ^VYSKZ" P[ PZ HSTVZ[ SPRL SVVRPUN [OYV\NO H SVVRPUN NSHZZ PU[V H ^VYSK [OH[ PZ KPăLYLU[ MYVT ^OH[ YL]VS]LZ

around you. You are able to see things clearer and withdraw from the noise around you. My brain is a total mess, but it is through my mental chaos that I am actually focused and organized. Even my professors in England admit to that. My attempts in organizing my work has only discouraged its production, my tutor, at Central Saint Martins in London, asked me to revert to my old chaotic means of expressing myself because it is more structured. Yes I have TVYL [OHU ZRL[JOIVVRZ MVY T` SHZ[ [^V ÄUHS [OLZPZ WYVQLJ[Z `LZ 0 KV UV[ L]LU \UKLYZ[HUK T` own writing but that does not make it wrong to work in such a manner. I tried the whole workPUN VU VUL ZRL[JOIVVR H `LHY [OPUN [Y\Z[ TL 0 [YPLK I\[ 0 Z\ăLYLK 0 ULLK T` ZRL[JOIVVRZ 0 have so much to say. It has been an exciting journey for me so far. I am associated with The Third Line Gallery and have taken parts in regional shows as well as international shows with various WPLJLZ VM ^VYR YHUNPUN MYVT ]PKLV [V WOV[VNYHWO` 0 OH]L HSZV [HRLU WHY[ PU ÄST MLZ[P]HSZ HUK have had publications in magazines like Eyemazing, Canvas and regional newspapers and am in the process of publishing my book on abandoned spaces with the Third Line Gallery. My work PZ UV[ THKL MVY ZHRL VM W\ISPJP[`" P[ PZ THKL MVY ZHRL VM SL[[PUN [OL ^VYSK RUV^ T` ]PL^WVPU[Z beliefs and ideas. If anything I hate being in the public eye and attending events and much rather be lazing about at home watching Grey’s Anatomy and pigging out.This exchange program is exciting and is a great incentive to produce new work and try and relate it Berlin. This is great JOHUJL MVY [OL HY[PZ[ [V ZOV^JHZL [OLPY PKLHZ ILSPLMZ HUK WYLZLU[ [OLPY TLZZHNLZ [V H KPăLYLU[ audience. The Western world is always intrigued by individuals from this region have to say. Many might be disappointed to know that I too have only seen a camel once in my life and if one should cross my road I will be excited as any other tourist if not more. The moment people know 0 HT H MLTHSL ,THYH[P HY[PZ[ WLVWSL PTTLKPH[LS` ÄUK [OH[ PU[YPN\PUN ZVTL[PTLZ L]LU TVYL [OHU my work. The whole world craves to know what we are thinking and our pattern of thoughts is perceived as interesting. I guess it is because we have been unattainable for so long it is exotic HUK Z[PT\SH[PUN MVY WLVWSL [V IL ÄUHSS` HISL LU[LY V\Y ^VYSKZ

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Untitled 2006 Stills from Animation 20

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" 23A K#2 .;1 #2L 2006 Animation '6 45A K#F +26 9L 2006 Stills from Video

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Hind Mezaina UAE

How did I get here? 6UL Ă„UL KH` PU I have always been interested in photography but never took it seriously until I stumbled upon the world of Lomography, a global photography community that focuses on spontaneous WOV[VNYHWO` \ZPUN VSK ZJOVVS JHTLYHZ 0[ PU[YVK\JLK TL [V H ^VYSK VM SV^ Ă„ JHTLYHZ ¸KVUÂť[ [OPUR Q\Z[ ZOVV[š WOPSVZVWO` HUK [OL TPZZPVU [V KVJ\TLU[ [OL ^VYSK ^L SP]L PU [OH[ THKL WLYMLJ[ sense to me. I like to capture the small and big moments that happen in the fast paced life around me, whether it is in my hometown Dubai or during my travels around the world. Being from Dubai and living here all my life, I have seen it go through a lot of changes. This fast evolving city is losing some of its old charms, so I want to document the things that are often overlooked to remind others that life was simple here not so long ago. I want to capture these moments before they disappear. My camera family started to grow. It stared with the joyful point and shoot LC-A and now includes plastic (toy) cameras like the Holga, Diana+, Lubitel, Smena, Polaroids and various pinhole cameras. The simplicity and individual characters of these cameras gives me the freedom to concentrate and capture the subjects and emotions I want. I have still not given up VU Ă„ST WOV[VNYHWO` HUK ZLL UV ULLK [V HZ 0 JHUUV[ Ă„UK HU`[OPUN [OH[ L]VRLZ [OL ^HYT[O HUK [OL JOLTPJHS YLHJ[PVU VM Ă„ST WOV[VNYHWO` 0 SV]L L_WLYPTLU[PUN ^P[O [LJOUPX\LZ SPRL T\S[PWSL exposure and cross processing because the results are always surprising and delightful. The mundane can have a new and fresh look. During these years, I have taken part in exhibitions, organized some and even exhibited in London, New York. 21st February 2008 It was a Thursday afternoon, in London. I was inside one of my favourite places there, the

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Photographer’s Gallery and I received a call from Dubai. It was Lateefa from Tashkeel asking if I would like to take part in an artist residency program in Berlin. Hmm…I thought to myself. .P]L TL [^V ZLJVUKZ [V KLJPKL ¸@,:¹ ^HZ T` YLHJ[PVU 6M JV\YZL 0 ^V\SK SV]L [V [HRL WHY[ 0 couldn’t believe this came my way. I was thankful that someone had faith in me and to nominated for such a project. 2nd April 2008 ;OL ÄYZ[ TLL[PUN ^P[O HSS [OL V[OLY HY[PZ[Z HUK VYNHUPaLYZ [VVR WSHJL PU +\IHP >L ^LYL [VSK [OL [OLTL VM [OL L_OPIP[PVU HUK HM[LY YLHKPUN [OL ÄYZ[ ML^ SPULZ ¸;OL OLYL HUK [OLYL [OL \Z HUK [OLT¯¹ HSS [OH[ RLW[ Y\UUPUN [OYV\NO T` TPUK MVY [OL YLZ[ VM [OL TLL[PUN ^HZ 1VOU - 2LUULK`»Z MHTV\Z X\V[L ¸0JO IPU LU )LYSPULY¹ HUK ^OH[ ^V\SK 0 KV ^OLU 0 SHUK PU )LYSPU ( JP[` [OH[ 0 UL]LY visited before and all I know about it is it’s fascinating history, it’s great electronic music scene, and a thriving art and culture scene. From that meeting and till I wrote this, all I am thinking of is what will I achieve and accomplish, what will I learn and what will I leave behind in Berlin? All I know is that I will be with my trusted cameras and capturing my moments and thoughts in )LYSPU 0 HT JV\U[PUN VU T` SV^ Ä JHTLYHZ [V Z\WWVY[ TL VU [OPZ QV\YUL` Today I have no idea what today will mean to you, but I hope it will be a day you learn about me, about where I come from and my experience in Berlin.

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¸>PUKV^Z¹ 2007 Photograph (cross- Processed)

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K, 6 ;1 A <D2?

L 2007 Photograph (cross processed) taken with the Diana, and camera

K, 6 ;1 A <D2?

L 2007 Photograph (cross processed)

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¸+\ULZ š Photograph (cross-Processed)

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From left to right: ¸-YVU[ YV^ YVJRLYZ ¹ Photograph ¸>HP[PUN [V ZHPS¹ 2006 Photograph (cross - processed) ¸+OV^ I\PSKPUN¹ 2006 Photograph (cross - processed)

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Amna Almadani UAE

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As an individual I have a tendency to push boundaries, take risks and breakaway from the norm. I love trying new things and can easily get tired of routines and constant repetitions. These characteristics have guided me towards art and are the basis upon which I create my work. The diversity of human nature is my primary source of inspiration, whether it is on a physical or physiological level. Hence, my artwork tends to be portative. I have always been fascinated by the human body in terms of the structure of muscles and bones and how they allow us to ÅL_ PU[V KPăLYLU[ WVZP[PVUZ HUK TV]LTLU[Z ;OLZL LSLTLU[Z ZLY]L HZ [OL IHZPZ [OYV\NO ^OPJO ^L M\UJ[PVU HZ ^LSS HZ YLÅLJ[ V\Y LTV[PVUZ HUK [YHUZSH[L [OLT PU[V WO`ZPJHS [LYTZ ^OL[OLY P[ is as discrete as raising an eyebrow or as expressive as throwing a punch. Although I was never interested in science, anatomy is an evident feature throughout my work. .LULYHSS` 0 WLYJLP]L T` HY[ UV[ VUS` HZ H YLÅLJ[PVU VM T`ZLSM I\[ HSZV H KVJ\TLU[H[PVU VM [OL world around me. As a conceptual artist I tend to address humanitarian and social issues in aims to encourage tolerance and understanding. A visit I made to a psychiatric ward a couple of years ago had a major impact on me both as an individual and as an artist. I interacted and communicated with several patients within the institution, and was surprised to learn that they were harmless and friendly individuals, who have been locked up for having unique beliefs and capabilities. )LPUN H ÄYT ILSPL]LY PU [OL WV^LY VM HY[ HUK P[Z HIPSP[` [V THRL H KPăLYLUJL 0 HPT [V YLHJO V\[ to people who feel neglected, rejected and treated as outcasts merely because they do not abide to cultural norms. I see this as a way to blur the barriers between those that society considers as sane and insane, as well as question the notion of normality and our right to abuse, judge and label people. I consider art to be without limits and my interest lies in using it as a way of communicating my ideas and theories as an expression of future change.

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K*;=9 B4421 L 2007 Ink K(A 6 99 " 6 32L Ink

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Buildings and Hamad

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K 1 1 <9 <B? A < " 6 32 : /? .02 )52 6 Q 2? 2;02L B;2

Interactive instillation

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Final Berlin Catalogue.indd 48-49

USA

Roberto Lopardo

ZLSM PUÅPJ[LK KPNYLZZPVUZ Its not real. How could it be? (and yet its very perversity, makes all too feasible, the malleable). It soaks the crooks and warps the crannies. It dilutes what can be rational or thereof, and begs for mercy without recall. I got a great big joker in my head, in my den. Slow riding buildups, pickups, shut outscantilevering grossly out of proportionPU ÄUP[L LTW[PULZZ ^HYWPUN ZLUZPIPSP[PLZ How could it? And yet with the everlasting booming tone of rising tides on a vastness, its insistence to be heard is conditioned. This great big joker is a friend of mine, in me throughout. Folding over the crease with steadiness, making sure to point out the kinks, its to no one‚s surprise but my own. Sixteen times sixteen times sixteenand now its no longer a forceful question, but an urgency shifted into a clench. I got a great big joker in me. It don‚t care to play nice.

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K ;A 2? ? <4.A 6 <;L 2000 Color Photograph

K& ? <C 6 1 2;02 ' L 2000 Color Photograph

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Left: ¸9VVT ¸ MYVT [OL ZLYPLZ ¸ YVVTZš 2002 Silver Gelatin

Top: ¸9VVT š 2002 Silver Gelatin ¸9VVT š 2002 Silver Gelatin ¸9VVT š 2002 Silver Gelatin

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¸:HYHOš Color Photograph

¸-HPSPUN 5VVZLš (from untitled video) In collaboration with Sarah Valenzuela ¸:[PSS 3PMLš MYVT ZLYPLZ ¸4` :[\KPVš 2000 Color Photograph Untitled Still (from Untitled video ) In collaboration with Sarah Valenzuela Digital Video ¸:HYHO IS\L š Color Photograph

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lin Artists. Berlin Artists. Berlin Artists. Berlin

C hr i s t i a n S ie v e r s . M a r c G r o s z e r .

S e b a s t i a n G r a e f e . R ol f G ie g ol d

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Christian sievers Germany

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6 2 .? 1 . <99 F D<<1 /9 <08 /B@A 2? 3? <:

@A .? A @ D6 A 5 @2C 2? .9 =2<=9 2 /26 ;4 .@@.@@6 ;.A 21 at home in front of their computer screens. The procedure is always the same. We are shown a young man. He is staring intensely at rows of cryptic text scrolling across the screen. Cut to the baddies, also in front of computer screens. They have apparently gained access to the young man’s system, and hit a button. A large message appears: Uploading Virus. Cut to the young : .; 6 @ @0? 22; P6 08 2? @ .@ 6 3 @<: 2<;2 529 1 . : .4;2A A < .; <9 1 3.@56 <;21 C .0BB: A B/2 )+ 2 frowns. The computer doesn’t seem to respond any more. When he hits the Delete button, the ? <<: 2E =9 <1 2@ 6 ; ./ .99 <3 O? 2 We understand: The boundaries between virtual worlds and reality have become thin. Disembodied bits of information determine real life, and death. , 2 8;<D A 5.A D2N? 2 D.A 056 ;4 . <99 F D<<1 : <C 6 2 . =6 202 <3 O0A 6 <; A N@ . 9 .B45 (B? 29 F A 5.A N@ ;<A =<@@6 /9 2 B A D6 A 5 A 205;< O0A 6 <; A 52? 2N@ .9 D.F @ . ;.446 ;4 B;02? A .6 ;A F A : .F 7B@A ;<A /2 =<@@6 /9 2 yet. Who knows what they’re going to come up with. Does anyone understand how computers do what they do? , 299 A 52? 2N@ O0A 6 <; .;1 A 52; A 52? 2 6 @ =5F @6 0@ %=2; .;F 0<: =B A 2? .;1 9 <<8 .A 6 A @ =.? A @ Integrated circuits and diodes and resistors. Nothing in there has the capacity to violently release great amounts of energy. (A condensator might pop under excess voltage. It smells bad, that’s all.) (<: 2 A 56 ;4@ 0.;NA /2 1 <;2 )52? 2 .? 2 =5F @6 0.9 9 6 :6 A @ $<A 2C 2? F A 56 ;4 6 @ >B.;A 6 O./9 2 0<: =B A ./9 2 16 @2: /<1 6 21 6 ;3<? : .A 6 <; -<B 0.; 16 46 A 6 G 2 : B@6 0 A B? ; 6 : .42@ 6 ;A < & @ F <B :6 45A 2C 2; /2 able to remotely feel someone if you both use one of those cyber-sex gloves. But along the line something is lost. Things do have a physical reality. I don’t know where this story is from, but I love telling it: Apparently spiders don’t think they’re A 52 @.: 2 @6 G 2 .@ A 52 PF A 52F N? 2 A ? F 6 ;4 A < 0.A 05 )52F 3229 A 52F N? 2 .@ 9 .? 42 .@ A 52 D2/ A 5.A A 52F B@2 The web becomes an aesthetic prosthesis, and transmits perceptions similarly to nerves.

( ZWPKLYÂťZ L_WLYPLUJL VM P[Z IVK` PZ YHKPJHSS` KPăLYLU[ MYVT ^OH[ PZ ]PZPISL [V \Z 0U [OL ZHTL way a car becomes a part of the body, or a hammer, or a scalpel. The boundary between body and instrument becomes blurred. Presumably this sensual relation to an instrument is essential to excellence in any craft. Bodily sensation is a prerequisite for the creation of meaning. Understanding, really grasping something is inseparable from one’s corporeality. 0 HT H IVK` HTVUN IVKPLZ 4` PUZPNO[ PU[V H WPLJL VM ^VYR T\Z[ ULJLZZHYPS` IL KPăLYLU[ from someone else’s. This unbridgeable triangular distance is part of making work. I need some distance in order to see clearly. Not everything should be part of the same web. )HJR PU [OL Ă„ST [^V ULYKZ OH]L ILLU RPSSLK HUK [OL [OPYK VUL PZ HIV\[ [V OP[ [OL KLSL[L I\[[VU Enter Bruce Willis, old-school muscle. He doesn’t understand anything about computers, and saves the hacker’s life, and the world.

From left to right: ¸7HWLY 7HU[`š 2008 Sculpture Untitled Stripe Figures 2005 ¸4LUZ <UKLY^LHYš 2008 Sculpture

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(96 1 2 3? <: K%; 9 <<8 /BA 1 <;NA A <B05L 2005

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K 9 2.;2? L 2003 Video Still

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0U]LY[LK :JLUL! ¸;^V MYPLUKZ¹ 2008 Drawing

0U]LY[LK :JLUL ¸9VHK ZHML[`¹ 2008 Drawing

0U]LY[LK :JLUL ¸>PUKV^ JSLHULY¹ 2008 Drawing

¸-\Y *VH[ PU H 3PNO[¹ Box 2007

0U]LY[LK :JLUL ¸+Y\UR NPYS¹ 2008 Drawing

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Marc Groszer Germany

stunned by the beauty VM JYVZZIV^ ÄSSLK IVULZ count a cat till ten eleven :) an de mo ni um pink/black shapes of wooden -hearted belongings touch my skin. wired shelters made of shrunk, that is where i’m in [Y\Z[ PU ÅLZO PM `V\ HZR MVY H UL]LYLUKPUN HWWVPU[TLU[

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¸4` (KPKHZ¹ Ink on hardboard

¸7VSS\[PVU (UKVYYH¹ 2006 Ink on hardboard

62

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K)52 #.86 ;4 <3 K 2006 Mixed Media on Canvas K B; =2L

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K 6 ;1 8B@5L 2006 Ink on hardboard

K .0</ 6 45A @ A 52 ;49 2L Ink on chipboard

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Sebastian Graefe Germany

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No time to hurry. The sea is fast but it won’t get us, we are humans, we can stroll just as the waveline can roll. We like edges, we are sometimes edgy, but there must always be time for patience. Time for looking up into the sky, time to relieve us from the miles per hour, from the kilometers per second. Let’s sit, let’s sit and wait for the sunlight to arrive. Wait together. Give it ZVTL TPU\[LZ 6Y PUZ[LHK VM ZP[[PUN HUK ^HP[PUN ^L JV\SK [Y` [V IL .VKZ [V IL .VKZ HUK Ă„UNLY wrestle with her, with our beloved sun and her calm assistant. Take a look at the moon. There we are again, looking up into the sky, for at least eight or nine minutes. By the time we get home, the earth has moved underneath us. We are closer to Alaska than yesterday, not much, maybe the KPăLYLUJL PZ VUS` WHWLY[OPU KLWLUKPUN VU [OL IVVR 0 HZZ\TL I\[ ^LÂťYL NL[[PUN [OLYL The closer we get to the date line, the closer we are to the sky, the closer we look at the far away and the near, the more beautiful our ideas. Don’t let the abstract vastness overwhelm you. Earth is a close kinsman with her own malaises, maybe we can relieve her, maybe we hurry her at times. But so does she, she is the inventor and creator of long, grey winters. It’s not the sun’s fault, she is always there - steward brothers, pilot sisters, cosmonauts and astronauts can attest to that - , she would warm us always, were there not these many evaporations to which we add TVYL VY \Z\HSS` SLZZ KLSPILYH[LS` >L HYL WHY[ VM [OL WYVJLZZ [OH[ÂťZ HSS +PK `V\ RUV^& 6M JV\YZL you knew, but did you realise? Have you made clouds before? Water clouds, clouds of fabric? We are part of a process that sits on our throats sometimes. We need to hear life, organic TVYL [OHU W\YL JOLTPZ[Y` ^H[LY HUK HPY KVUÂť[ Z\Ä„JL >L ULLK [V VIZLY]L [OVZL [OH[ SP]L Vă [OLZL TVSLJ\SLZ SPRL ^L KV V\Y YLSH[P]LZ PU [OPZ LUVYTV\Z MHTPS` L]LU [OVZL SP]PUN Vă Z\SWO\Y HYL V\Y cousins). Listen to them, listen to the energetic hum from beneath, the brisk buzz from above. Listen to the others. There is a new day every hour, every minute for someone, many ones and conglomerates we don’t know. The sun rises in the east and even we live east of ourselves. It rises and the winds begin to blow. They gain force as they enter the gorges, the gorges of canyons and the gorges of city streets. They hit your face like rain when we ride our bike. So do it, ride your

4/24/08 12:30:31 PM

IPRL -P[ P[Z [`YLZ ^P[O [OL ZHMLZ[ HPY `V\ JHU ÄUK YLTV]L HSS ZOHYW VIZ[HJSLZ VU `V\Y ^H` HUK ride, move. Moving is the most successful remedy of getting stuck, of congestions of all types. And never taking the same path twice is the most reliable safeguard against going blind. Necessities blind us, numbers make us numb. So we expect, so we accept. Sweeping the needless necessities V\[ VM [OL OV\ZL [OPZ ZOV\SK IL WYPVYP[` [V HSS V[OLY JOVYLZ ZOV\SK JVTL ÄYZ[ PU OV\ZLRLLWPUN Remember to establish a duty-free area and to invite some of the pleasures from out there, from life without you, life without us. They will tell you things you never asked for. And your own ]VPJL ^PSS IL T\JO TVYL \UVIZJ\YLK *VTL V\[ VM HUK PU[V SPML M\SS` ÅLKNLK by Nadine Schmid

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¸ ! TPU¹ ;OL YLZ\S[ VM LHJO ÅPJR VM H SPNO[ Z^P[JO ^HZ KLSH`LK I` 8 minutes 19 seconds, the time it takes for the sunlight to reach Earth.

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¸ )LH\MVY[¹ 2005 Digital photograph, 26,5x20,5 cm

¸;HRPUN H ^HSR ^P[O [OL ZLH ¹ 2008 Action, Cuxhaven,

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)<= K 9 <B1 K 2003 Banner, Light aeroplane, various places " 23A K ? <D; K 2005 =9 .@A 6 0 /B08 2A

E

E 0

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rolf giegold Germany

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-VY ZL]LYHS `LHYZ 0 OH]L ^VYRLK JVUJLW[\HSS` ^P[O KPăLYLU[ TLKPH ¶ depending on the individual project. My projects often develop over the SVUN [LYT ¶ KL[HPSLK WYLWHYH[VY` YLZLHYJO PZ WHY[ VM [OL PTHNL 0U T` works I mostly refer to found items and react to social structures and ILOH]PVY VY 0 ILJVTL PU]VS]LK PU ZWLJPÄJ L_OPIP[PVU WYVQLJ[Z PU ^OPJO 0 ]PZ\HSPaL KPăLYLU[ SL]LSZ VM WLYJLW[PVU VM H ZLSLJ[LK [VWPJ Space itself can become material which is changed or examined closely in its architectural or atmospheric aspects through minimal interventions. Exactly in this way, my approach can refer to a cultural context which [OLU PZ WLYJLP]HISL HNHPU PU JVUULJ[PVU [V H ZWHJL ¶ HZ H ¸TL[H ZJ\SW[\YHS¹ PU[LY]LU[PVU

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K, 2.A 52? )+ K In collaboration with Sandra Anst채tt. 1999-2000, iTelematic Sculpture of Neue Bremm Concentration Camp Memorial Site.

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;VW! ¸/V^ [OL +LHK )L\`Z PZ ,_WSHPULK [V [OL 3P]PUN /HYL ¸ 2006 Installation

¸(U[OVSVN`!.HYKLU!9LTP_¹ In collaboration with Karlheinz Grunwald, Gritta Ewald). 2006 6-channel sound installation

4PKKSL!¹ :[H[PZ[PJZ ¹ 2001 Wall Drawing. ¸)V[[VT! /`TUZ ¸ 2005 6-channel sound installation.

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K E 6 A K 200 D.A 2? 0<9 <B? @ <; =.=2? 2.05

E 0:

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A c k n o w l e d g e m e n t s

Patron Sponsors

Partners

Media Sponsors

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