syn(es)thetic remains

syn(es)thetic remains 1

sound/wall installation
14 tin cans, acrylic, pigments, 8 piezos, subwoofer, mp3-player
demo-version, 3 channels in 1

many thanks to Ronit Tayar for filming and editing the clip in such a creative and entertaining way




KATE TESSA LEE                                                Video-Screening 11th of September 2013
in cooperation with Ronit Tayar

Glass Flesh Cement is a filmic excavation – subconscious, psychic and emotive – into the abyssal internal struggle engendered when the quest for freedom becomes a spell; an obsession; a fatality; a form of selfimprisonment. Here, a captive, enthralled by freedom, revolves within an oppressive corporal labyrinth of glass and concrete, and is visited by the corporal chimeras of her deepest fear of “imprisoned freedom”.
As she evolves through various states of being and psychic transformations, her flesh undergoes various forms of bondage that materialize occult physical mutations and culminate in a symbolic means towards emancipation.
(Kate Tessa Lee)


Thanks to:     Galerie cubus-m

Content Declared



15 X 15 x 12 cm, tin can, glass board, stones, wood, bones, feathers, flies

The first level to approach the object is to look at the way it is made. In an extremly longlasting – and boring – process more than 200 0´s and I´s are painted on an industrial tin can. The resulting pattern reminds you off archaic embroiderings. A very old way to change an utensil into a preciocity by investing time and manual efford. The time and labour intensive way to create value is contrasting the binary code, that is basic for an extremly fast –and seemingly effordless – dissemination of information as value.
On a second level, the decoded content of the binary writing: S.T.O.N.E.S.W.O.O.D.B.O.N.E.S.F.E.A.T.H.E.R.S.F.L.I.E.S. connects this thoughts about the creation of signs, patterns and value with a little installation inside the can, where these materials are assembled in a finely balanced situation that cites the aesthetics of animistics shrines. The material claims its immanent value and  the object as a whole becomes transcended.

White Dots and Flowers

under snow


4 pieces, 20 X 30 cm, prepared paper, paper, pressed flowers

„white dots and flowers“ is a short sequence 4 collages. In preperation I exposed sheets of paper to the winter 2012/13. The sheets were fixed with stones (see picture above).
So the structures are the result of snow, rain, wind, sun and dust.
The white dots are cut out of the prepared paper and replaced by the same, but „untouched“ material.

The Beauty of Transience


Altes Spital Arnstadt, June – July 2013

scroll down for a video-walk

For a long time, the curatorium of the St. Jakobs-Stift e.V. has been working for the preservation of the historical infirmary in Arnstadts old town. As we now can start substantial physical safeguarding measures, we would like to open the fascinating building for the public and present its possibilities as a venue for cultural events. The frame for this first opening is given by the exhibition „The Beauty of Transience“ curated by Jörg Hasheider. The exhibition presents internationally respected artists, who are working with the course of time, decay and the aesthetics of those processes. The media are space installations, sound installations, objects and video.

Manon Awst & Benjamin Walther, Alexine Chanel, Marco Goldenstein,
Frank Benno Junghanns, Karina Mosegard, Charlotte Seidel, Hubert Steins,
Rosmarie Weinlich 

Awst & Walther
Das süße Leben (sweet life)
Installation (grapes, neon, metall construction)

In this collaboration, the artists Manon Awst and Benjamin Walther, create an ephemeral sculpure. The sculpture, a chandelier made of grapes with a luxiurous, baroque appeal, decays with the grapes in a simultanious, performative process. The appropriation of the luxiurous finery is limited to a short space of time – especially compared to extremely longlasting classical sculptures made of bronze or marble -. A symbol of european, aristocratic culture decays in an organic process. In this same process the grapes are producing concentrated fructose – to sweeten life -.

Alexine Chanel
Self-Portrait in Decomposition
Installation (vase, flowers, mirrorshards)

„Self-Portrait in Decomposition“ is a living/dying work in reference to the french for still life: nature morte, this would be a nature mourante (roughly translates as life being stilled) This floral composition in decomposition is about the passage of time, the journey from life to death and the evolution of beauty. AC

Marco Goldenstein
o. t. (Deckel 1 – 4) (bookcases 1 – 4)
1. „Unruhe um Katinka“ 2. „Weiter als die Erde reicht“
3. „Lisa und die roten Nelken“ 4. „Die köstlichen Tage“

„….I remember a time, when the earth was so close, that i did not hurt myself when I tumbled. The stones were good to me. The trees were protecting me. Only ants scared me. „Go to the anthill and learn…..“
Slowly I learnt to get hurt and scared.
Gunnar Ekelöft

Frank Benno Junghanns
gone I (25 empty frames)
gone II (skull)
gone III (hole, outdated electronics, light/sound)

Frank Benno Junghanns created site-specific installations for the exhibition. In the staircase and the first hallway he placed a sequence of empty frames on the walls. Resembling a gallery of absent ancestors, the frames frame nothing but the structure of the walls, so underlining the function of the building as an influential part of the exhibition and its perception.
In an other hallway, that was closed for safety reasons, he placed the a bovine  skull in a light spot on the ground. Evoking emblematic associations of death and desert he transformed the no-go-area into a picture of a house with a great potential as a fallow land.
The building contains a collection of GDR products. FBJ used electronic devices from the collection to install a sound-and lightinstallation in a hole in the floor and the room below, creating a reminiscence of a culture that very quickly disappeared and now lives on in a kind of mental underground.

Karina Mosegård
Nature Morte
Gobelins transparentes
Mixed-media-installation (cotton, synthetics, embroidery, drawing)

Karina Mosegård reinterprets the arthistorical genre „Nature Morte“. Still life – in french „Nature Morte (dead nature) – is a style in photografy and painting working with the compostition of inanimated objects. Karina Mosegard technically enhances the concept by embroidering the objects on transparent cloth and place one behind the other. The drawings are floating in space, slightly distorted, almost uncapable, in a process of decomposition. Opposing this, the different layers merge into a new image, new images, and so generate a process of becoming.

Charlotte Seidel
Illusions sur cour
Video, 4:3, 14`49„(loop)

The cloudlike foam is slowly floating along the skyblue tiles.  A banal detail converts into a distraction of everyday life, into a world of dreams and illusion. CS


Hubert Steins

Schattenland (shadowland)
Cycle of Images / Wax-cast 47 X 47 cm

Schattenland is a programmatic cycle of images that deals wit the phenomenon of the apparitional  and decaying. Artist-potraits, for example of Samuel Beckett, Morton Feldman and John Cage, but also of young artist from my circle of friends, appear as a reference to an art that exists at the verge of silence and the visible. Schattenland examines the borders of perceptibillity by the material that is used. All portraits are integrated in the backside of a board of wax as a casted relief. The translucent quality is changing the conciseness of the incrusted portraits depending on the light. (HS)

GlockenKlangGlocken (BellsSoundBells)
Soundinstallation for two sonic pendulums and the sound of historical bells

The installation consists of two speakers that are integrated in two bowls that are covered up by lids. Recordings of historical bells, most of them destroyed during World War II, sound from the speakers under the lids. …. Moving the parabolic lids create a momentum similar to the one of swinging bells. At the same time the movement of the lids influences the given sound by periodically filtering and reflected it, creating the impression of listening to church bells far away.

Rosmarie Weinlich
A melancholic memento of transience
Mixed-media-installation (lightbulbs, carnivorous plants, substratum)

Assuming that our universe is a closed system, all life will someday expire. My experiment: the biological conditions for the developement of life are given. A plant is placed in a substratum, supplied with light and then hermetically sealed. When one of my habitats is ready, time is taking over the rest of the artistic work. RW


The exhibition was organized and supported by:


Main sponsor                          Support                                        Print

logo - weiss auf rot       sse           Logo_Ortloff2

Many thanks to Christian and Constanze, Andreas, Pia, Knut, Rainer, Konstanze, Holger and all friends in Arnstadt!

Photocredits: Marco Goldenstein,Karina Mosegård, Kai Mosegård Jensen, Axel Nestle,
FB Junghanns, Hubert Steins




neurosis – psychosis and panic


CT´s of my skull (eyes, ears, nose, mouth), milimeter pattern, pencil drawing on wall

Whilst the prevailing epidemic pathology of modernity was the neurosis produced by repression, the pathologies spreading epidemically today manifest signs of psychosis and panic. A hyper-stimulation of attention reduces the ability to critically and sequentially interpret the speech of the other, who tries and yet fails to be understood.
Franco Berardi The pathologies of hyper-expression Discomfort and repression
Translated by Arianna Bove

What is hiding behind the curtain

WhatishidingbehindthecurtainStudio-Exhibition of Karina Mosegard
March-April 2013
Drawings and writing on cotton and transparent silk 600 X 280 X 150 cm

In her work Karina Mosegard is connecting two levels of the perception of life. The underlaying, opaque level shows us a child women, who is embedded in the mysteries of sexuality and the various forms of furtility, who knows about the interweavment of all things and beings, the moleculuar and interstellar relations. This level is self-evident and intuitive.

On a second, transparent and almost ephemeral level, she presents a text by James Joyce about the „ineluctutable modality of the visible“. Limits of perception and the body occur – the relation of what we see and who we are. The intellectual and reflective level.

The text is ending with the advice: „shut your eyes and see.“, and so leads us back to level one.
Moving in front or inside the installation gives you a strong impression of the beauty of the various possibilities to experience life, the complex joy to immerse in its endless and shining presence.

The exhibition was sponsored byStatens_Kunstraad_LOGO_SH

Little World Garden


plants (bellies), tin cans, stones, aluminum foil 2013

The Little World Garden relates to Garden as the World relates to Nature.



7 handpainted empty dogfood cans, daisies, glass board, natural light bulbs
120 X 15 X … cm,  2013

The binary code for daisies is painted on 7 standard industrial tin cans. The generic term is represented as binary code and singular plants (DNA).
By painting the figures of the binary code, each figure is diffrent from each other.
The work looks like a biogenetical experimental set-up. It actually deals with naming and classification in the context of standardization and codification.




Videoinstallation, Video-Loop, Beamer, double mirror connected with electric motor, DVD-player, stereo, 2012

The installation was realized in the frame of the „Occupy Circle, Part II“ show in my studio – a collaboration with Dominik Eggermann. Common starting point of the works that are united in the installation is movement and so The Time.
Dominik Eggermanns works are based on the programming of Java-Apps. They were presented on 3 screens, the sound on headphones. The visual and acoustic sensation is created by an itterative algorithmical parameter that initiates an aleatoric process.
The videoinstallation „Turn/Return“ shows a person, that is artistically – metaphorically going through various states of being. At the same time the person is caught in a movement that is spinning around itself while spinning around in space, creating a vision of vainness, the turn of the „Big Wheel“ that creates everything and means nothing.
Both works are endless processes: On the one hand side an emanation of form, on the other side an experience of life caught in a loop.

Domink Eggermanns programming (screenshots)