PhD in Art Writing at Edinburgh College of Art (The University of Edinburgh)

I’m very excited to announce that I started my PhD at the ECA. The working title of my research project will be: Time in Text, Text in Time and Text and Time – (Art) writing as a time-based medium. Supervisors: Dr. Susannah Thompson, Dean Hughes and Maria Fusco



Ghost Flowers @ Herrmann Germann covered by Art Viewer



Ghost Flowers at Herrmann Germann Contemporary, Zurich

Riley Harmon, Marie von Heyl, Anna K.E. & Florian Meisenberg, Maude Léonard-Contant, Katharina Ludwig, Nora Mertens
curated by Lea Schleiffenbaum

Opening, Friday 11 November 2016
12.11. – 23.12.2016

Herrmann Germann Contemporary
Stationsstrasse 1
CH – 8003 Zurich


Image: Anna K.E. & Florian Meisenberg, Countdown Belladonna 2016
Courtesy Simone Subal Gallery, New York (US)

What if you slept
And what if
In your sleep
You dreamed
And what if
In your dream
You went to heaven
And there plucked a strange and beautiful flower
And what if
When you awoke
You had the flower in your hand
Ah, what then?
— Samuel Taylor Coleridge, 18. Jahrhundert

The 21st century is often named the digital age. In the early 2000s we were already talking about the Post-Internet era. Everyone born after 1980 counts as a »digital native«. Digital natives seem to move effortlessly through spaces, overcoming national borders and social hierarchies. Yet are the phenomena generally credited to the digital revolution really new? Does Coleridge’s poem from the 18th Century not suggest instead that the creation of virtual worlds is a quality inherent to the human imagination? Do I not experience emotions stirred by digital media just as keenly as I do those aroused by direct, physical experience? The exhibition Ghost Flowers at Herrmann Germann Contemporary is an undertaking to break down boundaries between virtual and real, digital and analogue and to explore both levels as experiential spaces on equal terms. The Internet will, thus, become an additional public space that we can inhabit and design.
The role-play and alter egos which define life on the net are a key element of Riley Harmon’s artistic practice. According to Harmon, the unconscious knows no difference between reality and simulation. Here images, music and dreams are dealt with like real facts. In his film A Method for Blue Logic voices off read a collage of lines Harmon sourced from an online forum, leading through dream-like visual sequences. The voices discuss a conspiracy theory that the American government has employed an actress to be a national hero. A young blond woman sings a cover of the old jazz standardGeorgia on my mind.
While Harmon is engaged with role-play and myths, Nora Mertes investigates our physical appreciation of spaces and images in her spatial interventions and installations. Her works are often like experimental arrangements in which the viewer plays an active part as an observing and observable body.
Marie von Heyl bridges the sensory experience of objects and their virtual adaption. »We have no empathy with objects that give away how they were made. […] Craft bores us«, writes the artist in her Alien Object Manifesto. Her focus on surfaces is also apparent in The Occasional Table Series. Everyday objects covered with grey spray-paint look at a first glance as if they might be computer generated. Only on a closer look do small »flaws« or unevenness become visible. The misused use-objects exist somewhere on the cusp of being and seeming, between practicality and fetish.
The collaborative work Countdown Belladonna by Anna K. E. and Florian Meisenberg enables the viewer to look through the artist’s eyes in a true sense. Both videos show close-up footage of K. E. and Meisenberg’s eyes as they look at the displays of their smartphones. YouTube films, dance performances, music videos and film excerpts are seen in reflection on their pupils. The videos have a highly intimate and yet strange effect, as they bear witness to the nature of interpersonal relationships as well as the potential, though also the dangers, of the latest technical developments. The window to the soul here becomes an interface, while divergences such as man and machine, body and soul, are nullified.
A further leitmotif that runs through the exhibition is that of language. In her films, installations and objectsKatharina Ludwig investigates the narrative structures that define our lives and that maintain power relationships. While objects serve her as sketches for the conceptual development of her installations, words find intuitive entry points in the works. Instead of explaining or describing, language here creates space for multi-layered interpretative approaches.
This vague and veiled method of dealing with language can also be found in Maude Léonard-Contant’s works. The texts in which the sculptor describes the material qualities and the forms and colours of not-yet-realised objects have a bewildering rather than clarifying effect. Here language becomes a virtual medium that forms new bodies. Léonard-Contant’s objects will be exhibited together with the related texts for the first time in the exhibition Ghost Flowers.



Open Studios at Mörikestraße

sat 2pm – 8pm
sun 12pm – 17pm
Studio nr. 25

Mörikestraße 4-12
12437 Berlin

mo?rikestrasse inviteOpen Studios


Residency at Abingdon Studios June/July 2016

I’m very happy to be invited to be part of the WORK/LEISURE residency programme at Abingdon Studios in Blackpool (UK).



Work/Leisure is a pilot programme of five residencies, inviting emerging and mid-career artists to work alongside the community of resident artists based at Abingdon Studios, Blackpool. These short term residencies are non-prescriptive and designed to enable artists to research and develop new work in the historically and culturally unique location of Blackpool.

Work/Leisure is initiated by Abingdon Studios. Please see for details.
Work/Leisure is delivered in partnership with LeftCoast and Grundy Art Gallery.
Work/Leisure and Abingdon Studios are made possible through the support of Arts Council England and Blackpool Council.




Setzen, Stellen, Legen – Kunstquartier Bethanien, Berlin

26th February 2016,
7pm, Mariannenplatz 2, 10997 Berlin




I answered questions posed by Katie Stafford, who interviewed me in conjunction with my residency at Grand Union, Birmingham.

Read the interview here


Birmingham Digbeth First Friday

6 November 2015

7pm -10pm, Grand Union, 19 Minerva Works Fazeley Street Birmingham B5 5RS

Tapas and cocktails (made by the amazing chefs of Nomad) and I’m doing a quasi-performance/reading



Artist Talk

Birmingham City University, Lecture series Fine Art

4 November, 2pm


Residency at Grand Union Birmingham, UK

Looking very much forward to spend the month of November as artist in Residency at Grand Union, Birmingham. Thank you, Kim McAleese, Joanne Masding and Oliver McCall.







Flatness/Interruption – on 3:AM Magazine

My diagrammatic piece of writing has been published by 3:AM Magazine.

Read it here:

Screen Shot 2015-03-17 at 21.08.04

Thanks @fkraeutli for the help with coding <3



Die Dritte Hand – Last Exit Painting

curated by Lea Schleiffenbaum & Anne Schwarz

Salon Dahlmann
Marburger Str 3
10789 Berlin


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photos: Nick Ash, Kuba-Paris, Lea Schleiffenbaum



Die Dritte Hand: Last Exit Painting – Salon Dahlmann, Berlin


Opening 23th January 2015, 6-9 pm

Salon Dahlmann

With works by: Matthias Dornfeld, Philip Guston, Katharina Ludwig, Eddie Martinez, Felix Oehmann, Janne Räisänen, Maeve Rendle, Stefan Sulzer

„It all boils down to a question of faith”, so beginnt Thomas Lawsons berühmter Aufsatz „Last Exit Painting” von 1981. Lawson beschreibt darin Malerei als letzten Ausweg einer freien künstlerischen Praxis, nach deren radikaler Sezierung durch die Konzept- und Aktionskunst der 1960er und 1970er Jahre. ‚Faith’ heißt auf Deutsch sowohl ‚Vertrauen’ als auch ‚Glaube’. Beide Worte setzen ein gewisses Loslassen von Seiten des Subjekts voraus, eine Hingabe, wenn man so will. Lawson spricht auch von der ‚Naivität’, die ein Künstler besitzen muss, um seiner Tätigkeit nachzugehen, getragen von der Hoffnung, dass „am Ende alles gut werde.”

Es ist schwer vorstellbar, dass Philip Guston das Wort ‚Hoffnung’ oder ‚Naivität’ im Zusammenhang mit seiner Malerei verwendet hätte. Aber auch er spricht von einer unterbewussten Kraft, die den Künstler zum Werk bringt.

In dem 1980 entstandenen Film Philip Guston. A Life Lived von Michael Blackwood bezeichnet er diese Macht als „dritte Hand”, die am künstlerischen Prozess beteiligt ist. Guston beschreibt die Zusammenarbeit wie folgt: „You’re painting a shoe; you start painting the sole, and it turns into a moon; you start painting the moon, and it turns into a piece of bread.”

Diese künstlerische Herangehensweise führt dazu, dass Guston in seinen Bildern oft unerwartete Gegenstände kombiniert. Das Überraschungsmoment setzt einen gedanklichen und psychologischen Prozess in Gang, der erstmals von den Surrealisten beschrieben wurde. Durch die Loslösung vom rein rationalen Handeln strebten diese eine Sichtbarmachung des Unterbewusstseins an.

Die Ausstellung Die dritte Hand – Last Exit Painting vereint neben Werken von Philip Guston Arbeiten von jungen Künstlerinnen und Künstlern, die sich mit der Thematik der „dritten Hand” im Sinne einer Lockerung des Subjekt-Objekt Verhältnisses beschäftigen. Die beteiligten Künstler Matthias Dornfeld, Eddie Martinez, Felix Oehmann und Janne Räisänen benennen Philip Guston als ein wichtiges Vorbild. Sie sind in ihrem Werk direkt oder indirekt von den Arbeiten Gustons beeinflusst, dem ‚Künstler-Künstler’ – ein inzwischen fast inflationär gebrauchter Begriff, der bei Guston dennoch seit vielen Jahrzehnten zutrifft.

Opening – Das Spiel der Dinge / The Play of Things 09.05.2014

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Photos by Raphael Sprenger and Florian Kräutli

Das Spiel der Dinge / The Play of Things – Kunstverein Östliches Sauerland


Katharina Ludwig und Christoph Mause

9th May – 8th June

Kunstverein östliches Sauerland

Museum Haus Hövener
Am Markt 14
59929 Brilon


Aesthetica Art Prize


York St Mary’s

May Occur, Paragraph

Welcome to InDependence


Opening 6th March 2014
in collaboration with Berta Koch Collective

The Rag Factory
16-18 Heneage Street
E1 5LJ
United Kingdom