Nils Markwardt: Musterexemplare / Pattern Recognition (2015)">weiterlesen

PATTERN RECOGNITION
Nils Markwardt

Capital, they say, is as shy as a deer. For wherever money is concerned, the animal spirit reigns. Metaphorically but also literally. In front of Wall Street stands a bull; in fairy tales, the ass shits ducats and the goose lays golden eggs. An immoderate man is generally represented by a wolf, as, for example, in a famous mosaic in Notre-Dame de Fourvière in Lyon; in Swabia, a miser is sometimes called a “duck squeezer.” (...) read more

AUSGESTELLTE ARBEIT

Roman Ehrlich

In den Gesetzen von Platon, die ein Gespräch darüber sind, wie die Ordnung des Zusammenlebens der Menschen gestaltet werden könnte bzw. gestaltet werden muss, findet sich ein Absatz darüber, wie mit Personen, Tieren oder auch Dingen zu verfahren ist, die Schuld haben am Tod eines Menschen. Für den Mord unter Menschen wird vorgeschlagen, dass der Mörder seinerseits hingerichtet, der Leichnam vor die Stadt getragen und dort gesteinigt und der gesteinigte Leichnam alsdann an die Landesgrenze gebracht und hinausgeworfen werden soll.
Dasselbe Verfahren soll auch auf Tiere angewendet werden, die den Tod eines Menschen zu verantworten haben. Als Letztes in der Aufzählung wird schließlich auf die leblosen Gegenstände eingegangen (...) weiterlesen

WORK ON DISPLAY

Roman Ehrlich

In the Laws by Plato, a conversation regarding how the coexistence of human beings could or rather should be structured, there appears a section concerning how to proceed with persons, animals or even things found guilty of taking a human life. For murder among human beings, it is suggested that the murderer be put to death, his body taken to the outskirts of town and stoned there, and then that the stoned corpse be removed to the frontier and cast out. This same course of action should likewise apply to any animals deemed responsible for the death of a human being. Eventually, the discussion turns to inanimate objects (...) read more

 

Jan Brandt: Under The Wood (2015)

I’m the only one, some say the last one but I don’t like that, it’s too negative, it sounds as if no one is coming after me. Maybe it’s true, who knows, that’s how it was with the others but that doesn’t mean it has to be the same with me. I’m not looking for a successor and no one is looking to be one either; my sons don’t want to, my daughter can’t and my assistant is too stupid, but I haven’t given up hope yet that one fine day a young man or a young woman with a bit of brains will knock at my door and say, ‘I’ll do it. I’ll keep it going.’ (...) read on

Jan Brandt: Unterm Holz / Under the Wood (2015)">weiterlesen

Jan Brandt: Under The Wood (2015)

I’m the only one, some say the last one but I don’t like that, it’s too negative, it sounds as if no one is coming after me. Maybe it’s true, who knows, that’s how it was with the others but that doesn’t mean it has to be the same with me. I’m not looking for a successor and no one is looking to be one either; my sons don’t want to, my daughter can’t and my assistant is too stupid, but I haven’t given up hope yet that one fine day a young man or a young woman with a bit of brains will knock at my door and say, ‘I’ll do it. I’ll keep it going.’ (...) read on

Dominikus Müller: Abschluss und Aufbruch / Closure and Departure (2015)">weiterlesen

Dominikus Müller: Closure and Departure (2015)

A cupboard hangs on the wall. Taller than it is wide and made of walnut. The wood gives the cupboard a strange reddish warm glow. The double doors stand open, and two pieces of cloth have been stuffed inside, filling every centimeter. That the fabric has a color similar or at least corresponding to the little cupboard (one piece of fabric is somewhat darker than the other) is due to it having been dyed with walnut shells. Or so one learns from the description of the work, which Lena Inken Schaefer has accorded the long and wonderfully cryptic title While the walnut was spending time with men, the nut itself grew bigger while the shell got thinner (2014). (...) read more

Hanna Lemke: Pyjama St. John

St. John ist nicht nur eine Insel in der Karibik, St. John ist auch die englische Bezeichnung für Johanniskraut. Traditionell wird diese Heilpflanze gegen depressive Verstimmungen und innere Unruhe eingesetzt. Und irgendwie passt es da, dass Johanniskrautpflanzen besonders robust zu sein scheinen. Fast weltweit verbreitet sind sie – Lena Inken Schaefer hat Johanniskraut zum Beispiel direkt an der Autobahn gefunden. Sie hat die Pflanzen getrocknet, dann eingeweicht und gekocht. Den Sud hat sie verwendet, um Stoff einzufärben – aus dem sie eigens einen Pyjama hat schneidern lassen. (...) weiterlesen

Hanna Lemke: Pyjama St. John

St. John's is not only an island in the Caribbean. It's also the name of a medicinal plant traditionally used to treat depression and anxiety. Doesn't it seem fitting, then, for the plant itself to be very robust? St. John's wort can be found all over the world, and even grows next to highways. Lena Inken Schaefer found the plant next to a German autobahn that cuts through an industrial park. In her studio, she dried, soaked and boiled the plant, using the decoction to dye fabric which she then had made into a pair of pyjamas. Pyjamas, by the way, have a long history. They were brought from India to Europe in the 17th century by the English, and over time replaced men's nightshirts. It’s questionable whether anyone will ever have a jolly slumber party wearing Lena Inken Schaefer's pyjamas, a so-called shorty with short sleeves und legs. Even though the St. John's wort-soaked fabric promises comfort, it does not cover the whole body; a chill remains. (...) read on

Georgina Criddle: It All Belongs To You* (2014)

On the afternoon of the show I rode my bike from Neukölln to the base of the television tower in Alexanderplatz, Berlin. It was the opening of Lena Inken Schaefer’s exhibition “It all Belongs to You.” I locked my bike to a nearby post and walked up the wide concrete stairs into the old GDR exhibition space. As I entered a group of people were facing two A1-size posters stuck to the inside buildings glass façade. One of them was an information sheet detailing a nearby constructions site, the other: a site-map where a green-cross had been marked on the corner between Otto-Braun Strasse and Karl-Marx-Allee. Further down the poster were the following clandestine instructions (...) read on

Jan Brandt: Unterm Holz (2015)

Ich bin der Einzige, manche sagen, der Letzte, aber das gefällt mir nicht, das ist mir zu negativ, das klingt, als ob nach mir keiner mehr käme. Vielleicht ist es so, wer weiß, bei den anderen war es so, doch das heißt nicht, dass es bei mir auch so sein muss. Ich suche nicht nach einem Nachfolger, und es drängt sich mir auch niemand auf, meine Söhne wollen nicht, meine Tochter kann nicht, und mein Geselle ist zu dumm dazu, aber noch habe ich die Hoffnung nicht aufgegeben, dass eines schönen Tages ein junger Mann oder eine junge Frau mit etwas Grips vor meiner Tür steht und sagt: „Ich mach’s. Ich mach weiter.“ (...) weiterlesen

Jan Brandt: Under The Wood (2015)

I’m the only one, some say the last one but I don’t like that, it’s too negative, it sounds as if no one is coming after me. Maybe it’s true, who knows, that’s how it was with the others but that doesn’t mean it has to be the same with me. I’m not looking for a successor and no one is looking to be one either; my sons don’t want to, my daughter can’t and my assistant is too stupid, but I haven’t given up hope yet that one fine day a young man or a young woman with a bit of brains will knock at my door and say, ‘I’ll do it. I’ll keep it going.’ (...) read on

Selina Lai: Stabsichelbogen (Bar crescent Arc) (2014)

This solo exhibition by Lena Inken Schaefer has evolved from a process of diversion and reunification, whose starting point is a banknote from the german period of inflation in 1922, the same that was already used for the "5.000-50.000" work as a template of the endless series of drawings. (...) read on

Nils Markwardt: Musterexemplare / Pattern Recognition (2015)">weiterlesen

PATTERN RECOGNITION
Nils Markwardt

Capital, they say, is as shy as a deer. For wherever money is concerned, the animal spirit reigns. Metaphorically but also literally. In front of Wall Street stands a bull; in fairy tales, the ass shits ducats and the goose lays golden eggs. An immoderate man is generally represented by a wolf, as, for example, in a famous mosaic in Notre-Dame de Fourvière in Lyon; in Swabia, a miser is sometimes called a “duck squeezer.” (...) read more

AUSGESTELLTE ARBEIT

Roman Ehrlich

In den Gesetzen von Platon, die ein Gespräch darüber sind, wie die Ordnung des Zusammenlebens der Menschen gestaltet werden könnte bzw. gestaltet werden muss, findet sich ein Absatz darüber, wie mit Personen, Tieren oder auch Dingen zu verfahren ist, die Schuld haben am Tod eines Menschen. Für den Mord unter Menschen wird vorgeschlagen, dass der Mörder seinerseits hingerichtet, der Leichnam vor die Stadt getragen und dort gesteinigt und der gesteinigte Leichnam alsdann an die Landesgrenze gebracht und hinausgeworfen werden soll.
Dasselbe Verfahren soll auch auf Tiere angewendet werden, die den Tod eines Menschen zu verantworten haben. Als Letztes in der Aufzählung wird schließlich auf die leblosen Gegenstände eingegangen (...) weiterlesen

WORK ON DISPLAY

Roman Ehrlich

In the Laws by Plato, a conversation regarding how the coexistence of human beings could or rather should be structured, there appears a section concerning how to proceed with persons, animals or even things found guilty of taking a human life. For murder among human beings, it is suggested that the murderer be put to death, his body taken to the outskirts of town and stoned there, and then that the stoned corpse be removed to the frontier and cast out. This same course of action should likewise apply to any animals deemed responsible for the death of a human being. Eventually, the discussion turns to inanimate objects (...) read more

 

Jan Brandt: Under The Wood (2015)

I’m the only one, some say the last one but I don’t like that, it’s too negative, it sounds as if no one is coming after me. Maybe it’s true, who knows, that’s how it was with the others but that doesn’t mean it has to be the same with me. I’m not looking for a successor and no one is looking to be one either; my sons don’t want to, my daughter can’t and my assistant is too stupid, but I haven’t given up hope yet that one fine day a young man or a young woman with a bit of brains will knock at my door and say, ‘I’ll do it. I’ll keep it going.’ (...) read on

Jan Brandt: Unterm Holz / Under the Wood (2015)">weiterlesen

Jan Brandt: Under The Wood (2015)

I’m the only one, some say the last one but I don’t like that, it’s too negative, it sounds as if no one is coming after me. Maybe it’s true, who knows, that’s how it was with the others but that doesn’t mean it has to be the same with me. I’m not looking for a successor and no one is looking to be one either; my sons don’t want to, my daughter can’t and my assistant is too stupid, but I haven’t given up hope yet that one fine day a young man or a young woman with a bit of brains will knock at my door and say, ‘I’ll do it. I’ll keep it going.’ (...) read on

LENA INKEN SCHAEFER
LENA INKEN SCHAEFER