Roland Regner Selected Works
←
→
Page content transcription
If your browser does not render page correctly, please read the page content below
Roland Regner Selected Works
Relations, since 2016 In the group of works “Relations”, artist Roland Regner combines and reflects upon everyday objects, photo- graphic representations, and fragments of writing with art- and photo-historical questions, pop-cultural phenomena, and pseudo-fictional theories. The layering and shifting of levels of meaning and contexts plays a central role. Themes of seeing, showing and reading photographic and sometimes also written fragments are addressed within the photographic image. Precisely what these symbols and motifs tell us often remains deliberately open. Ongoing project. Relations #13 (After Andy W. / Anthony L. or Art is shit, because it is impossible to create virtual values in a virtual world.) No. 3, 2017 Inkjet-print, framed, 100 x 70 cm
Relations #13 (After Andy W. / Anthony L. or Art is shit, because it is impossible to create virtual values in a virtual world.), 2017 5 Inkjet-prints, framed, each 100 x 70 cm
Relations #20 (Dear Adelheid, look at the sky and I tell you how I feel), 2020 4 Inkjet-prints, framed, each 50 x 70 cm
Relations #16 (Angel), 2019 Diptych, 2 Inkjet-prints, framed, each 60 x 40 cm
Relations #19 (brother, Where Art thou?), 2020 Diptych, Inkjet-prints, framed, each 100 x 70 cm
Relations #18 (Don't look back in anger), 2020 Diptych, 2 Inkjet-prints, framed, each 100 x 70 cm
Relations #15 (After Andy W. / Anthony L. or Art is shit, because it is impossible to create virtual values in a virtual world. / Kindle Remix), 2018 Triptych, 3 Inkjet-prints, framed, each 65 x 50 cm
Relations #17 (Lessing's Dramatic Theory), 2020 Diptych, 2 Inkjet-prints, framed, each 70 x 50 cm
Relations #11 (San Greal Sang Real / Lanoo remix), 2017 Diptych, 2 Inkjet-prints, framed, each 60 x 40 cm
Relations #14 (Prima) No. 1 Four-leaf clover, 2018 Diptych, 2 Inkjet-prints, framed, each 70 x 110 cm
Relations #14 (Prima) No. 2 Yin Yang, No.3 The Tree of Life, No.4 Butterfly, No. 5 Heart, 2018 5 diptychs, 10 Inkjet-prints, framed, each 70 x 110 cm
Relations #12 (PhotoStar J.E. Model 1/2/3), 2017 Triptych, 3 Inkjet-prints, framed, each 65 x 50 cm
Series Relations Exhibition views Künstlerforum Bonn
Relations #04 (IQ), 2016 Diptych, 2 Inkjet-prints, framed, each 70 x 50 cm
Relations #08 (Ghillie Suit Green/Red/White), 2016 Triptych, 3 Inkjet-prints, framed, each 100 x 70 cm
Relations #01 (hkQGoldmanSachsRycyZ), 2016 Triptych, 3 Inkjet-prints, framed, each 60 x 40 cm Relations #02 (Saving the Skies), 2016 Triptych, 3 Inkjet-prints, framed, each 60 x 40 cm
Relations #03 (FdMLADtRabbitK), 2016
Triptych, 3 Inkjet-prints, framed, each 60 x 40 cm
Relations #06 (Voodoo Aarau I / II / III), 2016
Triptych, 3 Inkjet-prints, framed, each 60 x 40 cmRelations #05 (LINK), 2016 4 Inkjet-prints, framed, each 100 x 70 cm
The work Relations #07 (Sotheby`s...Suck my mother-
fuckin dick) shows four photographic diptychs whose
material basis consists, on the one hand, of an auction
catalogue of contemporary art from the famous auction-
eers Sotheby’s, and, on the other hand of sculptures that
show rib bones in a condom.
In the visible sections of texts, individual words and text
passages have been deleted using a black marker, and
single letters are highlighted using a colored marker.
When read in sequence, the words and letters form two
new layers of meaning that engage in a dialogue with
each other and the condom sculptures.
Relations #07 (Sotheby's... Suck my motherfuckin dick), 2016
4 diptychs, 8 Inkjet-prints, framed, total dimension: 64 x 332 cm
motherfuckin (detail)Relations #09 (Federal constitutional protection), 2016 Triptych, 3 Inkjet-prints, framed, each 70 x 50 cm
Relations #10 (Grandmother / Grandfather 3.0), 2017 Diptych, 2 Inkjet-prints, framed, each 100 x 70 cm
The Egg, since 2016 Installation view Künstlerforum Bonn / Fabrik 45 Ongoing mixed media project. The Egg, 2016 Mixed media, 165 x 30 x 30 cm (with pedestal)
Egg Oracle I / II / III / IV, 2016 Diapositiv in lightbox, each 60 x 80 cm
The christening of the Egg, 2016 5 Inkjet-prints, framed, each 70 x 50 cm
The light side of the Egg, 2016 Inkjet-prints, framed, size variable
The dark side of the Egg, 2016 Inkjet-prints, framed, size variable
Arché The publication of the book “The pencil of nature” by William Henry Fox Talbot in the late 19th century marked a paradigm shift in European cultural history. At that time, the truth element of artistic/image-making processes was declared able to be abstracted from the artist’s immediate realm of influence and was assigned to a technical process for the first time. Technology, Talbot suggested at the time, was meant to purge the artistic vision of subjective attributions and thus actually make objective images of the “real” possible. The fact that how a photographer arranges subjects and perspectives has a serious relevance for the final image was, of course, already known in the late 19th century. At the time, however, this fact was sidelined by the fascination with the technically advanced photographic apparatus, the camera. This was superimposed by an almost stubborn “faith” in the objectivity of technical processes. Even today, it is still considered true that photographers, supported by high-tech equipment and processes, can reveal the true realities, conflicts, identities and problems of the present, is still partly traceable back to attributions such as Talbot’s. And the function of truth of the “photographic” is itself, despite for example the shift towards the digital in recent decades, not just to be seen as one of the defining themes. On the contrary, our times have seen an explosion of technically produced “concepts of truth”. In medicine, for example, our bodies are con- stantly subjected to screenings, and the natural sciences are also determined by technically produced images. In the meantime, we live in a sphere of images that permanently produces assertions, yet is rarely questioned. It is precisely this rupture point that the artist Roland Regner addresses with his project Arché. With recourse to various “technical” strategies, the artist trans- forms his personal photographic archive. He subjects all the X-ray images, slides, negatives, digital photographs and photographic prints that depict him in past life situations to specific procedures developed for the individual media. For example, the artist exposed his X-rays to continuous and intensive red light and UV radiation, had slides and negatives infected by a bacterium developed at the Biological Institute of the University of Zurich, had photographic prints dissolved by an alkaline solution and had the digital photographs transformed by a specially programmed computer virus programme using chaotic algorithms. The result of all these interventions is that the “information” stored in the respective storage media is transformed along with the photo substrates, that the information layer is transformed, so to speak, but the substrate is left intact. It is precisely this level of visual coding that characterises the promise of truth in photographs, for example, that becomes comprehensible through Regner's intervention as a fragile film on technical surface structures. With his Arché project, the artist essentially asks what the photographic image could actually be, beyond these conventional categorisations. He asks what is left when we dissolve the historically constructed assignation that photographs can transfer the real to the level of the medial. The answer, which Regner himself suggests in this context with a systematisation he has devised, is that the viewer must refer back to latent, learned or con- structed categorisations if they want to understand what is shown to them in a photographic image. By assigning chronologically ordered serial numbers to the newly created pictures on the one hand and adding 4 to 6 terms to each of these numbers, with which he tries to capture the most important (former) content of the picture, on the other hand, the artist points to codifications that are latently always present. Regner suggests that the understanding of photographic im- ages has always been primarily a matter of how they are received and has little to do with unalterable truths. And it is precisely this approach of not just char- acterising the historically evolved paradoxes of the medium of photography, but making them tangible in themselves, that shifts Roland Regner's Arché project into the status of a relevant contemporary analysis. Dr. Heiko Schmid Art and media scholar, curator and author. Zurich.
„Arché“ – a photographic accomplishment completed with absolutely extraordinary and outstanding commitment to its objective. This project sees Roland Regner systematically turn all of his private photographs into abstract images. In this process the sentimental significance is extinguished from the photos, and their original meaning completely evaporates. All that remains is a residue of visual information which is processed chemically and in other ways and transfor- med and decomposed until it is completely unrecognizable. In his radically existentialist approach Regner thus conducts a progressive damnatio memoriae of himself – by simply annihilating his past. This work represents a bold artistic act of premature symbolic self-extinction. On the one hand, this is brutally realis- tic; however, there is no lack a deep philosophical background, since ultimately all information harbours within itself the tendency to become unimportant, as formulated in the second law of thermodynamics with the concept of entropy. Characteristic of the rational, conceptual and succinct style in which the artist expresses himself are also the titles listed in the index for his private photos, such as „People House Sky Easter basket 1983“. Dr. Hans-Michael Herzog Art historian, critic, curator
Arché, since 2012 Transformation of my entire biographical photo archive. Ongoing project. Series DN Transformation of slides/negatives with a bacterium from the Microbiological Institut of the University of Zurich. Currently series of 353 images Lambda-prints, framed, size variable DN-0266 (Personen Schnee Haus Himmel Bäume 1982), 2016 Lambda-print, framed, size variable
Index DN-0014 Personen Haus Himmel Osterkorb 1983 DN-0065 Personen Auto Baum Himmel 1983 DN-0013 Person Fenster Pflanzen Himmel 1984 DN-0148 Person Haus Himmel 2005 DN-0346 Personen Tisch Lampe Getränke Essen 1987 DN-0113 Person Balkon Himmel Spielzeug Tisch 1984 DN-0281 Personen Couch Schrank 1998 DN-0236 Personen Couch Fenster 1984 DN-0104 Person Schrank Tisch Getränke Lampe 2002 DN-0332 Personen Balkon Tisch Getränke Essen 1997 DN-0147 Personen Fenster Schrank Pflanze Tüte 1985 DN-0084 Person Couch Fenster 1984 DN-0309 Person Wiese Bäume Haus 1993 DN-0069 Person Couch Lampe 1981
Arché - DN-0206 (Person Osterkorb Wiese Pflanzen 1987), 2015 Arché - DN-0050 (Personen Tisch Getränke 1981), 2015 Lambda-print, framed, size variable Lambda-print, framed, size variable
Arché, since 2012
Transformation of my entire biographical photo archive.
Ongoing project.
Series P
During the drying process of the slides/negatives some
remaining information stays on the petri dishes.
Currently series of 265 images
Lambda-prints, framed, size variable
P-0007 (Restdaten DN-0009), 2013
Lambda-print, framed, size variableIndex P-0029 Restdaten DN-0041 P-0055 Restdaten DN-0069 P-0068 Restdaten DN-0084 P-0070 Restdaten DN-0086 P-0036 Restdaten DN-0050 P-0081 Restdaten DN-0101 P-0190 Restdaten DN-0260 P-0087 Restdaten DN-0110 P-0101 Restdaten DN-0133 P-0241 Restdaten DN-0319 P-0242 Restdaten DN-0320 P-0073 Restdaten DN-0090 P-0102 Restdaten DN-0135 P-0107 Restdaten DN-0143 P-0044 Restdaten DN-0058 P-0053 Restdaten DN-0067
P-0213 (Restdaten DN-0288), 2016 P-0248 (Restdaten DN-0330), 2016 Lambda-print, framed, size variable Lambda-print, framed, size variable
Arché, since 2012 Transformation of my entire biographical photo archive. Ongoing project. Series FV Transformation of the photo prints with sodium hydroxide solution. Currently series of 202 images Lambda-prints, framed, size variable FV-0027 (Person Himmel Schule Treppe Baum 1985), 2013 Lambda-print, framed, size variable
Index FV-0026 Person Wiese Himmel Pflanzen 2001 FV-0075 Person Haus Pflanzen Osterkorb 1982 FV-0058 Person Haus Fenster 1999 FV-0060 Personen Strasse Bäume Häuser Himmel 2001 FV-0061 Person Tisch Himmel Essen Getränke 1999 FV-0084 Person Balkon Tisch Stuhl Himmel Bäume 1993 FV-0168 Person Bett Lampe Musikinstrument 1997 FV-0064 Person Bett Fenster Fernseher 1999 FV-0065 Person Auto Strasse Häuser Himmel 1999 FV-0090 Person Auto Getränk 2001 FV-0006 Personen Couch 2009 FV-0142 Person Strasse Häuser Autos Himmel 2010 FV-0158 Personen Statue Himmel Bäume 1994 FV-0136 Personen Strasse Fluss Himmel 2010
FV-0014 (Personen Haus Tisch Stuhl Essen 1999), 2012 FV-0015 (Person Schrank Lampe Pflanze 2001), 2013 Lambda-print, framed, size variablel Lambda-print, framed, size variable
Arché, since 2012 Transformation of my entire biographical photo archive. Ongoing project. Series FR During the transformation process of the photo prints some information goes on the reverse of the print. Currently series of 202 images Lambda-prints, framed, size variable FR-0027 (Restdaten FV-0027), 2012 Lambda-print, framed, size variable
Index FR-0026 Restdaten FV-0026 FR-0075 Restdaten FV-0075 FR-0058 Restdaten FV-0058 FR-0060 Restdaten FV-0060 FR-0061 Restdaten FV-0061 FR-0084 Restdaten FV-0084 FR-0168 Restdaten FV-0168 FR-0064 Restdaten FV-0064 FR-0065 Restdaten FV-0065 FR-0090 Restdaten FV-0090 FR-0128 Restdaten FV-0128 FR-0142 Restdaten FV-0142 FR-0158 Restdaten FV-0158 FR-0136 Restdaten FV-0136
Arché, since 2012 Transformation of my entire biographical photo archive. Ongoing project. Series R Transformation of x-ray images with UV- and redlight radiation. Currently series of 36 images Lambda-prints, framed, size variable R-0010 (Knie 1997), 2012 Lambda-print, framed, size variable
Index R-0002 Knie 1996 R-0004 Knie 1997 R-0003 Knie 1996 R-0009 Knie1997 R-0012 Lunge 2005 R-0025 Lunge 2010 R-0014 Brustkorb 2003 R-0007 Knie 1997 R-0022 Arm 2000 R-0015 Lunge 2010 R-0006 Arm 2000 R-0017 Brustkorb 2003 R-0027 Lunge 2010
R-0024 (Arm 2000), 2014 R-0008 (Knie 1997), 2014 Lambda-print, framed, size variable Lambda-print, framed, size variable
Arché, since 2012 Transformation of my entire biographical photo archive. Ongoing project. Series DF Transformation of the digital photos with a computer virus program designed by the Interaction Design office -naut, Zurich. Currently series of 89 images Lambda-prints, framed, size variable DF-0026 (Person Haus Baum Himmel Auto Kamera 2013), 2020 Lambda-print, framed, size variable
Index DF-0034 Personen Balkon Stuhl Pflanze 2017 DF-0019 Personen Balkon Tisch Himmel Blumen 2007 DF-0003 Personen Treppe Kirche Baum Himmel 2009 DF-0009 Person Himmel Strand Meer 2017 DF-0025 Person Auto Schnee Strasse Häuser 2015 DF-0024 Personen Tor Fahrrad 2008 DF-0007 Personen Strand Meer Fussball Getränke 2016 DF-0022 Personen Couch Tisch Pflanze 2016 DF-0015 Personen Wiese Haus Himmel 2013 DF-0045 Person Fenster 2018 DF-0041 Person Tisch Fernseher Getränke Bett 2016 DF-0033 Person Häuser Fluss Himmel Baum 2014 DF-0047 Person Haus Fenster 2008 DF-0004 Personen Wiese Himmel Essen Getränke 2009
DF-0011 (Personen Tisch Lampe Spielzeug 2014), 2020 DF-0052 (Person Haus Statue Himmel Tor 2012), 2020 Lambda-print, framed, size variable Lambda-print, framed, size variable
Exhibition views Arché / M Shedhalle Zurich, 2014
Exhibition view Arché , Lambda-prints, framed, each 100 cm x 70 cm "Erinnern", with Philipp Hamann, Alexander Kluge, Pier Paolo Pasolini, Roland Regner, Hannah Schneider, Dorothee von Windheim. Curated by Michael Stockhausen. Q18, Cologne, 2018
M (Models), since 2012 Archive of aesthetic models. Which aesthetics can provide more content? Ongoing project. Currently series of 610 images Inkjet-prints, framed, size variable
Vacancies (photo albums), 2014 Vacancies in photo albums as a place where personal history is produced and reflected. Series of 100 images Inkjet-prints, framed, size variable VPA #39, 2012 Inkjet-print, framed, size variable
The Other designs. Historical authenticity as artistic project, 2014 Book and Exhibition project Each pages of the book shows only one half of the respective combined photographs, so that the topic of interface is formulated as a blind spot at the level of presentation. The photos are taken from personal and generally archives. The presentation on the wall is space-specific. Book, Offset-print, 21 x 15 cm Series of 31 images Inkjet-prints, framed, size variable The Other designs. Historical authenticity as artistic project Book, Offset-print, 21 x 15 cm, Edition of 100, 2014 Edited by Heiko Schmid & Kostis Stafylakis
The Other designs. Historical authenticity as artistic project Book, Offset-print, 21 x 15 cm, Edition of 100, 2014
Exhibition views Beton7 Gallery, Athens
Funny photo works Aufgeschwemmte Models, 2014 Series of 15 images Inkjet-prints, framed, size variable Aufgeschwemmte Models #01, 2014 Inkjet-print, framed, size variable
Funny photo works Cremegesicht, 2014 Series of 19 images Inkjet-prints, framed, size variable Cremegesicht #01, 2014 Inkjet-print, framed, size variable
Zebras gesellen sich mit Zentrifugen, 2014
Series of 8 images
Inkjet-prints, framed, size variable
Zebras #01, 2014
Inkjet-print, framed, size variableCatwalk 91 Part II, 1991-2009 In Catwalk 91, the work is an appropriation of my own material, because I myself photographed the pictures of the fashion show held by my parents’ clothing store in my home village when I was 13 years old. The obscuring of the motifs and the withholding of a clearly perceptible photographic image is achieved when scanning the transparency originals by placing an opaque transparent film with image blemishes on the source material during the digitization process. Series of 16 images Lambda-prints diasec, 100 x 75 cm Catwalk 91 Part II #04, 1991-2009 Lambda-print diasec, 100 x 75 cm
Materials / Simulations VEB Strickwaren Zenit, 2014 Series of 13 images Inkjet-prints, framed, size variable VEB Strickwaren Zenit #01, 2014 Inkjet-print, framed, size variable
Markus M. und sein ES, 2010 The relationship of a man to his dog. Series of 15 images Lambda-prints, framed, 30 x 21 cm Photo installation with red fleece wallpaper, plush chair and flokati rug. Markus M. und sein ES, 2010 Exhibition view Gallery K-29 Ricarda Fox, Essen
Gefährliche Kinderspiele, 2010 / 11
German Democratic Republic school material called
Dangerous Games.
Series of 16 images
Lambda-prints, framed, 60 x 80 cm
Gefährliche Kinderspiele #01, 2010/11
Lambda-print, framed, 60 x 80 cmRussalka, 2012
The story of the water spirit Russalka.
Series of 15 images
Lambda-prints diasec, 100 x 100 cm
Russalka #01, 2012
Lambda-print diasec, 100 x 100 cmRussalka #02, 2012 Russalka #07, 2012 Lambda-print diasec, 100 x 100 cm Lambda-print diasec, 100 x 100 cm
Russalka Among the profound questions in art is whether photographs show what is absent or whether they transport the present into a pictorial beyond. Anyone who has looked at old childhood pictures is familiar with what this question means. Even though anyone can, of course, confirm that they are the person depicted, it is still a different person who is seen in visual documents. People have long since changed considerably and left the person depicted behind in the past. Roland Regner’s artistic work makes the effects of technical alienation, such as the distancing effect of photography described above, visible and understandable in its materiality. Looking at Regner’s Russalka series, for example, it becomes clear how subtly the artist allows distancing effects to appear in his images. For example, Reg- ner comments that the person depicted in the sries (a child, presumably Regner himself) is supposed to be a water spirit named Russalka. Regner comments on this perhaps somewhat curious classification with an image in the series that is designed as a book cover, in which signs of aging of the image surface its- elf are made the subject, in which processes of the photographic material’s decay are used. By placing his own name at the edge of an eroding picture surface and placing the name Russalka in the center of the aging area he uses the manipulationeffects that can be seen in this picture, which arise in the undulations and detachments of the picture surface, for an artwork. The artist therefore makes use of wholly customary alterations to photographs in order to allow poetic material worlds to appear. He focuses on effects that are usually regarded as errors, as technical problems, in order to be able to ascribe to the surface of the image itself, to the medium of photography, a value of their own in the process of remembering. What thereby emerges in the "Russalka" series is a strangely beautiful effect of abstraction which points to the "beyond" of things. Dr. Heiko Schmid Art and media scholar, curator and author. Zurich.
Russalka, 2012 Book, Digital-print, 24 x 20 cm, Edition of 50. ISBN 978-3-940887-62-7
Spiegel, 2012 Series of 28 images Lambda-prints, framed, 30 x 40 cm to 70 x 100 cm Spiegel #01 (Helm), 2012 Lambda-print, framed, 60 x 40 cm
Roland Regner Top 40, Los Angeles Center for Digital Art, Los Angeles, USA
Born in Kusel, Germany. Lives and works in Cologne and Zurich. Grenzwertig, International Photoszene Festival 2016, Cologne, Germany
Currently teaching photography as a free lecturer at the HBK Essen Strom-stream-Magra, Künstlerforum Bonn, Germany
Since 2013 photographer for the Museum für Gestaltung Zurich, Switzerland Museum night 2016, Quartier am Hafen, Cologne, Germany
Half-Understood, Half-Collapse, Half-Open, Chinretsukan Gallery / University Art
Museum Tokyo, Japan
Education
Fabrik 45, Bonn, Germany
2012-2014 Master Fine Arts, Zurich University of the Arts, Zurich, Switzerland
April, April, Petersburger Raum für Kunst, Cologne, Germany
2012 Master Student / Meisterschüler of Thomas Zika
Zebras gesellen sich mit Zentrifugen, Kunstraum Teiggi, Kriens, Switzerland
2008-2012 Studies photography / media at the Academy of Fine Arts Essen, Germany
The Other Designs, Beton7 Gallery, Athens, Greece
Master Fine Arts Degree Show 2014, Shedhalle Zurich, Switzerland
Awards / Scholarships
Keine Systeme, Forum Schlossplatz + Kunstraum Aarau, Switzerland
Kunstmentorat NRW 2021
JungKunst 2013, Halle 52, Winterthur, Switzerland
Scholarship NRW (North Rhine-Westphalia) 2020, Germany
Nur die Harten kommen in den Garten, Helmhaus Museum Zurich, Switzerland
Since 2016 artist studio city of Cologne, Germany
Gallery KU-28, Essen, Germany
Empartolution Scholarship, Bonn, Germany
bild.sprachen-Messe 2011, Wissenschaftspark Gelsenkirchen, Germany
Essener Förderpreis 2011, Freunde KUNSTCAMPUS ruhr e.V., Germany
Obstructions 2011, Gallery K29 Ricarda Fox, Essen, Germany
Hebebüne e.V., Wuppertal, Germany
Exhibtions (Selection since 2010)
Projektraum-Bahnhof 25, Kleve, Germany
Die Grosse Kunstausstellung NRW, Museum Kunstpalast, Düsseldorf
4. International Photobook Festival, documenta-Hallen Kassel, Germany
Tangentiale BTHVN 2020, Künstlerforum Bonn, Germany
Obstructions 2010, Gallery K29 Ricarda Fox, Essen, Germany
The artists are present, Quartier am Hafen, Cologne, Germany
Catwalk, Fotofolgen Gallery, Hamburg, Germany
Das Digitalschöne, Internationale Photoszene Festival 2019, Cologne, Germany
Fashion, Størpunkt Gallery for Contemporary Art, Munich, Germany
Publications (Selection)
Ten Years After, Kunstverein Projektraum-Bahnhof 25, Kleve, Germany
Catalog Tangentiale BTHVN 2020
Wer kümmert sich eigentlich um die Realität?, Collection Elder, International Photoszene Festival
Interview Roland Regner: Transformationen, Online-Journal w/k – Zwischen
2018, Cologne, Germany
Wissenschaft & Kunst
Der Gürtel ist lang, la felce, Cologne, Germany
Catalog Porfolio Review 2017, NRW-Forum Düsseldorf
Erinnern, Q18 Ausstellungsraum, Cologne, Germany (curated by Michael Stockhausen,
Catalog 5 Jahre Essener Förderpreis, Freunde KUNSTCAMPUS ruhr e.V.
with Philipp Hamann, Alexander Kluge, Pier Paolo Pasolini, Roland Regner, Hannah Schneider,
Catalog Strom-stream-Magra / Artist in residence project, Künstlerforum Bonn
Dorothee von Windheim)
The Other Designs. Historical authenticity as artistic project, Book On Demand
Best Off..., Petersburger Raum für Kunst, Cologne, Germany
Papers On-Institution_Kritik, ZHdK, Zurich
Exposition, Gallery Mekki Mghara, Tétouan, Morocco
Russalka, published by fadbk AG Essen
Photographers, Q 18 Ausstellungsraum, Cologne, Germany
Catalog Essener Förderpreis 2011, published by fadbk AG Essen
Haus der Fehler, Künstlerforum Bonn, Germany
Catalog Obstructions 2011, published by fadbk AG Essen
Museum night 2017, Quartier am Hafen, Cologne, Germany
Vorwahl, Petersburger Raum für Kunst, Cologne, Germany
Collections
Unauthorized SFMOMA Show, San Fransisco, USA
Los Angeles Center for Digital Art, Los Angeles, USA
Pizza Connection, Q 18 Ausstellungsraum, Cologne, Germany
City of Winterthur Art Collection, Switzerland
Düsseldorf Photo Weekend 2017, Portfolio Review, NRW-Forum Düsseldorf, Germany
UZH Zurich, Switzerland
Gefundenes Fressen, Petersburger Raum für Kunst, Cologne, GermanyYou can also read
