Accidental Accomplishment

Institut für Raumexperimente
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52 | You might be watched over while the bell rings, 2013

When you are standing in front of the window the church bell rings. Someone might see, gaze, stare, shoot, bless you from the surrounding buildings windows. This is an accidental work. One of the experimental approaches which tries to expand space by giving a simple instruction to the eyes. This is a relatedness made by sharing the time experience in the distance. This work is based on two German cinema posters.

The Artist

You might be watched over while the bell rings, 2013

50 | Muscle Brutus, 2013

Name: MUSCLE_BRUTUS Age: 23 Gender: Male Sexual Preference: Gay Country: RO Zodiac: Leo Chest: 122 cm (48″) Height: 1,83 m (6’0″) Weight: 82 kg (181 lbs) Hair Color: Black Eye Color : Green Build : Muscular Ethnicity : European Body Hair : Smooth Circumcised : Uncut Cock Size : Big Pubic Hair : Trimmed Kinky Attributes : Feet, Smoking Languages Spoken : English video collage made of webcam recordings, 10 min

51 | Accidental Accomplishment, 2013

This work is the invitation trailer for the exhibition Accidental Accomplishment. All images were taken from the Institut für Raumexperimente’s archives. So maybe where you watched the video invitation work is also the exhibition space opening up to you. video collage/ trailer, 42 sec

The Artist

Muscle Brutus, 2013

Accidental Accomplishment, 2013

48 | When this is there / The Lonely Jellyfish, 2013

This is this. That is this. This is there.

49 | This is beyond you, 2013

A tone hidden in a room plays just above your hearing range. It’s there – but it’s beyond you. Children can hear it – and you used to be able to hear it. The time it has taken you to live your life up to this point has rendered you desensitized to this piece – what you are not hearing is the length of your life. I’ve hidden the speaker in the room, and I won’t tell you where it is. You’re going to have to trust me that what you are not hearing is actually there. The sound is relatively localized around the speaker – it’s spatially specic and not a blanket that covers the room. You might have thought that you heard the piece – but maybe that was another tone from something else and the actual work is elsewhere.


The Artist

When this is there / The Lonely Jellyfish, 2013

46 | Türkischrot

40 Leute werden zur Ausstellung eingeladen und vorher gefragt, ob sie mir ein Kleidungsstück von sich, das sie während der Ausstellungseröffnung tragen wollen, geben. Die erhaltenen Kleidungsstücke werden in einem veraltete Färbeverfahren für Textilien türkischrot gefärbt. Der heute synthetisch hergestellte rote Farbstoff Alizarin, wird aus einer Wurzel gewonnen und die Stoffe durch mehrere Prozesse hin zu einem leuchtend Rot gefärbt. Das Verfahren war noch bis ins 18. Jahrhundert in Europa unbekannt und farbechte Textilien mussten aus dem Orient importiert werden, bis Färber den Prozess erlernten und der Bezug aus der Türkei zurückging. Die türkischroten Kleidungsstücke sollten nach dem Ausstellungsbesuch einfach weiter getragen und wieder mit nach Hause genommen werden. Weitere Performances werden während der Ausstellung angekündigt.

The Artist

Türkischrot, 2013

45 | Echoes, IV, 2013

Recordings of architecture in the process of disappearing are played in a rhythm of growths and falls: a ghost, a prospective encounter on someone’s way. slide projection (loop), sound

The Artist

Echoes, IV, 2013

42 | suggestion for a sit-walk

A suggestion to try to describe what is above you, which you can’t see while going in between two places by U-bahn. Two legs with a pair of shoes attached at the end of them; preferably an U-Bahn ticket (otherwise 40 EUR cash-just in case you have an unwanted encounter with a ticket controller); any kind of timer (this can vary from a professional runners’ timer to your timer on your mobile phone, and in the worst case you can use your watch).

Download Map

The Artist

38 | “May I … ?”, 2013

Maybe it’s exactly what you expect and maybe it’s not taking place right now. performance

Einzelne Menschen oder kleine Gruppen werden von mir direkt angesprochen, hier während der Ausstellung „Accidental Accomplishment“: „Guten Tag!“ – „Was machen Sie hier?“ – „Ich würde Sie gern mit 5€ bezahlen, wär das ok für Sie, darf ich?“ – „Leider hab ich’s nicht passend, können Sie wechseln? Oder vielleicht mit jemandem teilen? Oder diesen Schein eben für mich bei jemand anderem wechseln?“ – „Großartig. Jetzt müssten Sie mir das hier bitte eben noch quittieren… dann haben Sie ja auch den Durchschlag… Was soll ich denn schreiben? Wofür möchten Sie gern bezahlt werden?“ Gelegentlich wird dieses Geld wieder zurück gespendet, in meine Kasse für diese Aktion. Manchmal ist es auch weniger oder mehr, auf jeden Fall gibt es dafür einen gesonderten Block und ebenfalls eine entsprechende Quittung.

The Artist

May I … ?”, 2013

37 | Mikropie, 2013

“The death of an organism, which is both a subjective and objective death, suggests the image of a final point. An end. But it is possible to go beyond this image, simply by shifting the focus of interest.” – Roger Ego 4ch sound, 3d print, sculpture, 3d animation,  lm, slugs, photo, text

The Artist

Mikropie, 2013

34 | Nothing is bad without something good, 2013

Aktion / Intervention während der Ausstellungseröffnung

Download Project Text (German)

35 | Ausfluss, 2013

Aktion / Installation

36 | Zerbrechung (French Window), 2013

Am 3.4.2013 hat Fabian Knecht ein Fenster von Marcel Duchamps Geburtshaus in Blainville/Crevon eingeworfen. Duchamp trägt die Verantwortung für die Kunst, die wir „mögen“. Ungebrochene antiautoritäre Autorität. Fotografie von Aktion/Intervention

On April 3, 2013, Fabian Knecht broke a window of Marcel Duchamp’s birth house in Blainville/Crevon. Duchamp is responsible for the art we “like”. Unbroken anti-authoritarian authority. photo of action/intervention

The Artist

Nothing is bad without something good, 2013

Ausfluss, 2013

Zerbrechung (French Window), 2013

32 | vertigo effect, 2013

Our perception of space is always changing. Spending time with people makes us a wider latitude of space. Familiarity with space and each other happens. Using a technique by Hitchcock called the dolly zoom, we can see ourselves as a space of slow surroundings and continuously changing distances. This is our perceptual space, an amorphous changing substance. video installation

The Artist

vertigo effect, 2013

31 | FFS Studio, 2013

FFS Studios, HD video 16:9,  loop

FFS Studios features Luise Helm, a professional voice actress during a dubbing session.  The piece absorbs the audience into the process of re-recording and spatially spiraling a loop of fragmented narration bits.  The unseen character’s presence in the film, Luise’s emotional interpretation of this character, and the viewer create an intimate space of new narrative possibility.  Direction, Sound, Edit: Clara Jo. Camera: Jon Britt. Featuring: Luise Helm.

The Artist

FFS Studio, 2013

21 – 26 | blau machen, 2013

The series “blau machen” is a constellation of different works “taged” in blue, which can be experienced in a sequence, going through the spaces, “still outside”, “within” and “leaving” the exhibition. Whereas my focus lays on the question: what is an exhibition, what does it expose? The different stations, each have another take on this, investigating the constitution of a human culture, a community and its entanglement with images, language and objects.

21 | what is to come

Die Tiere leben im Offenen. tent, litter


Partitur für eine zukünftige Praxis. fotocopy, text

23 | enclosed

(wir alle – von nun an) books, clamps, box, strap

24 | dyagonal

I/H steel beam

25 | Hol-liger

Der in der Höhle lagert. aluminium, foldout tables, projection

26 | record

bla – la – lau 3 recordings, 10 min, 5 min, 3 min

The Artist

what is to come





18 | Christina, Eric & Olafur, 2013

These three  flies have been running the Institut für Raumexperimente the past 4 ½ years. Now they are grown up. The photos show them when they were still very young. 3 photo prints on  fine art paper, each 48,3 cm × 330 cm

19 | The poet, 2013

The poet is in deep meditation. One day he will come out of his cocoon. Concrete, diaphragm,  fly in a cocoon, 28 cm × 28 cm × 140 cm

The Artist

Christina, Eric & Olafur, 2013

The poet, 2013

14 | Nachhaltige Begegnung (Sustainable Encounter), 2013

Mückenstich, mutmaßlich während der Ausstellung zugezogen (mosquito bite, probably contracted during the exhibition)

15 | Nicht sichtbare Welle (not visible wave), 2013

Zwischen den visuellen und auditiven Informationen, die mich mit anderen Subjekten und Objekten über das globale Netz verknüpfen und dem Sinnesumfang meines Körpers, den ich in einer Kommunikation mit jemandem oder etwas einsetzen kann, mit dem ich im gleichen Raum und in der gleichen Zeit bin, tut sich eine Kluft auf. In dieser schattigen Senke liegt einsam, zunehmend rätselhaft und magisch, das Haptische. Situation (Konstellation zwischen Körpern und Himmelskörpern) A chasm reveals itself. Between visual and auditory information, between the global net and the sensual range of my body. I am connected to other subjects and objects. When we are in the same space and time together this becomes a communication to someone and something, In this shady swale reclining, in the forlorn, in the increasingly baf ing and sorceries, in the haptic. Situation (Constellation between bodys and celestial bodies)

The Artist

Nicht sichtbare Welle (not visible wave), 2013

9 – 11 | Distributed Render Errors, 2013

There are specific sections of our space that the almighty processing unit cannot accurately render. Glitches are leaking through the texture maps. The membrane is tearing open. What lies beyond? projection mapped animations

9 | Error Code: 10263 Stack Overfl ow: Renderer Not Supported

10 | Error Code: 43560 Rendering Failed. Object not set to an instance of an object

11 | Error Code: 25680 The Scene Must Contain At Least One Solid Model Object To Render

12 | No Input Signal Detected, 2013

The poetry of the the error message is not to be underestimated. Sometimes it is too subtle for us to notice, but maybe the machines don’t mean what we we think they mean? projected animation

13 | Rowing against the Stream, 2013

You open the laptop and it begins. Like a  re hose pointed at your face, the images gush through your skull and render your body numb and incapacitated. But you can’t stop, you are pinned against the chair. Somehow it feels good. Just one more minute. We can stay in the stream, but let’s reclaim our bodies and purify ourselves with a scheduled nervous breakdown. performative improvised talk with a rowing machine, a laptop, and a projector

The Artist

Distributed Render Errors, 2013

No Input Signal Detected, 2013

Rowing against the Stream, 2013

7 |Aloop, 2011 – 2013

Into a vanishing choreography of light.

Aloop transforms the sitespecific background radiation into a vanishing sculptural choreography of light. The viewer and given visual perceptive capacities co-constitute the experience of the contemplative moment. A moment of silence emerging between the single purely chance driven events.

Aloop, 2011 – 2013

6 | Levity, 2013

Two poles are so distant that they cannot see each other. Seeds are being confused by machines. The machines do not know why. The wheat is admiring its roots. You feel the wheat feeling gravity. Goethe is talking about levity and without it we would all be one matter, I think. The poles: “we are one” roots, wheat, mist machine and pvc pipes

The Artist

Levity, 2013

2 | Grad Fieber transports into a realistic 40 degree fever loop, 2013

“The heater. A symbol. Body heater. Healing. Heizkörper is not translatable. It’s something like heat body… instead of radiator. A work in process performing. Being active. Now working. Don’t stop with eating energy. And the feeling of having an oven heater. Where your body has to spend more energy heating up.” Radiator, pump, water heater, coffee, PVC tube

3 | illogic circles, 2013

charcoal drawing

The Artist

Grad Fieber, 2013

illogic circles, 2013