There is no U in TEAM, faulty equations in an otherwise simple matter.
SOLBATEMIM #005
SOLBATEMIM #5 ≈ Kunstverein Bielefeld No265|25 is comprised of 14 edited publications, published by Kunstverein Bielefeld (fka Bielefelder Kunstverein, Museum Waldhof) between 1990 & 2024. Various inserts (pasted b/w Xerographs on Pergraphica classic rough, 90g/m2) ☐, 1 poster (screen print on scrap paper, folded DIN A2, graphic design by Max Schropp) ☐, 1 pencil sharpened on both ends ☐, 2 invitation cards & exhibition floorplans for They are putting out apples, it must be fall. ☐ 2 photographs (digital print) ☐, a plastic sleeve ☐ have been added.
Concept by Thomas Neumann, Sophie Isabel Urban, Simon Wienk-Borgert (Linienstraße).
Image credits & copyrights correspond to the underlying publications & Linienstraße, 2025.
They are putting out apples, it must be fall.
Organised as Linienstraße (together with Thomas Neumann and Sophie Isabel Urban)
With works by Nura Afnan-Samandari, Geta Brătescu, Michael Franz, Gabriel Kuri, Paul Niedermayer and Michel Wagenschütz in collaboration with Theodor Dathe
Kunstverein Bielefeld, 2024-2025, Installation Views by AR
︎︎︎Further information
as Reton Gio
2024, The installation has no title, but seeks to unfold in a loose constellation of references and overlapping, subjective narratives. The installation remains searching for a plateau while understanding its’ own making as a continuous derive.
It encompasses three or four arrangements of imagery and objects as well as a contribution by SOLBATEMIM (#004).
SOLBATEMIM #003
Contribution for shifting by Johanna Terhechte at oxfordberlin, Berlin, 2024.
Together with Ludwig Kuffer and Johanna Terhechte.
as Siemon Ponnts
2024, Porous Repair, Petershof, Cologne
SOLBATEMIM #002
Contribution for props by Ludwig Kuffer at Austin, Munich, 2024.
Together with Ludwig Kuffer and Johanna Terhechte.
The Egg and I, Great Expectations
With Works by Jürgen Drescher, Buket Isgören, Victoria Tarak, Sophie Thun and works by the group caring for the project.
Steel cable suspension for the interior, on the occasion of the inaugural exhibition at Linienstraße, early 2024.
STAMINE
2023, Graduation at Kunstakadmie Düsseldorf, Installation Views by Kai Werner Schmidt
︎︎︎Full Documentation
In my artistic practice, a responsive archive of work fragments and invariants is created through an ongoing process of collecting, decomposing 1 and densifying both my own and third-party materials.
In form of site-sensitive interventions, the makeshift arrangements of sculptures, ready-mades, photographs and drawings do not pursue a hierarchical logic but instead reflect on my approach to processing information as such 2.
They express a speculative opposition of notion, technique and aesthetic(s) in a diffuse method 3 and allow for an ambiguous fabric of relationships in which they can exist in open juxtapositions or consolidate into more static, contained forms.
1 After the exhibitions, all installations and works are disassembled into smaller parts, partially archived (invariants) or further processed until they create a sufficient synergy in a new constellation with other updated fragments, depending upon the exhibition context.
This sleeve of one of the book architectures (see 6) was made of acrylic glass and underwent several iterations. It continued to feel as insufficient, so it was detached from the remaining material and photographically re-examined. I subsequently used cellophane instead.
2 By using illustrations, and typographic elements or by creating drawings that derive from plan material such as elevations and layout schemes, I adopt a universal language. Through the addition of other media and the open, processual approach to the materials 7 themselves, I develop a sense of subjectivity that in return blurs this generalizing claim.
They evoke oddly familiar impressions 4 and moments of friction since they cannot be brought together coherently. The ambiguity, which results from the encounter of disparate visual worlds and referential systems, is deliberately chosen.
Thus, all resulting distortions call for their very own and personal translation, a possible genesis from (collective) memory and intuition: Insufficiency = Opportunity.
I understand the articulation of contextual links and conceptual voids as an architectural activity, as a method of self-localisation and relating.
3 BELVEDERE, 2019, PiK Deutz, Cologne
In Collaboration with Sophie Isabel Urban
Installation View, Mareike Tocha
4 Untitled Figure (22-I), 2022
The Untitled Figure series shows organic and machine-like objects made of hand-laminated cardboard layers. They are flesh and stone, looking out of and at the hegemony of technological modernity.
I‘m interested in the similarity of organisms and other large-scale systems — connections between our biological understanding and our conceptual frameworks.
Constructed and organic objects are the focus of my sculptural interest. These opposites do not contradict each other, but add a human component to the work. Still, the impression produced is often one of addition (mechanical) and subtraction (organic).
The artistic process can be a form of control mechanism to question my personal patterns of perception and the dissemination of knowledge in general. I‘m interested in dysfunctional elements within a societal system that constantly needs to produce surplus value, also by normalizing pedagogies of utilized viewing 5,6.
5 Untitled Constellation (22-IV), 2022
Within the installations I use photographic materials from books and magazines taken from public bookshelves. The image sources themselves are arranged together with tools and objects, that are loosely connected with corresponding strands of thought around that time. They almost naturally evolve as antiformal time-capsules; a synthesis of narration and visual structure.
The term constellations corresponds to something that I name constellations within some of my works‘ titles. The term constellation has an element that cannot be controlled and refers to fluctuating relationships. The fragments of the works show different depths of personal involvement.Through the installations I briefly construct a perception of the world, which is then dissolved again.
6 Untitled Constellation (Solid Version) 2021-2023
Arthur Jacobs: A New Dictionary of Music, 1960; Rainer Maria Rilke: Auguste Rodin, 1984, Pergamin, Rubberband; Bundesminister für Verkehr (Hg.): Deutsche Autobahnen im Luftbild, 1971; Wire, Acrylic Glass, WD-40, Rivets, Fabric, Softdrink, Lemonpress Juicy Salif by Philippe Starck, Sediment
In my work‘s multiple legibility, the conceptual idea of a social space can unfold. It evolves in the array of possible references and the exchange in front of it.
Within collaborative frameworks such as Linienstraße 7, SOLBATEMIM 8 or the alias unfamiliar Arrangements 9,10, I have been exploring the parameters of what art can be for myself. The long-term work on these projects continues to inform my visual language and its’ methods: juxtaposition/adaptation, collision/communication, care/violation.
7 The series was taken from an elevated position, at night and with a flash. It served to examine my apartment, which was also simultaneously used as a studio and exhibition space (ÆdT — Am Ende des Tages) until 2023. I wanted to identify the boundaries of the rooms and the overlapping of the activities taking place in them.
Solarization is an overexposure of light-sensitive paper in the darkroom and causes mid-grey colours to shift uncontrollably.
8 visualsnow, 2023/Reprint 2024, 15x20cm, 48p., Xerox Laserprint, Edition of 20. SOLBATEMIM #001
The publishing of corresponding artist books is a complementary method to document ephemeral impressions and constellations within the installations and to contrast them with further related, secondary information.
early 2025 *
* I see this statement as a provisional record: The site-sensitive work has to negotiate many circumstances and inevitably leads to moments of doubt. Within the exhibition space my underlying questions and motifs are the same as they are in everyday life and are sometimes contradictory. However, I‘m glad that this approach embeds me in larger societal debates, as it is an expression of a fragmented reality in which small-scale solutions, communicative turmoil and ideas of autonomy and interdependence are in opposition to one another.
9 A pattern was burnt onto this sugar cone using a heat gun. Two other cones were worked on with a soldering pen and had small sketches on their surface. Next to them was a large drawing with sugar water on the floor, which only became visible in the course of the exhibition.
The cone was part of an environment at regatta2, Düsseldorf (2021) and created as unfamiliar Arrangements (w/ Philipp Naujoks, Sophie Urban).
10 Ominous Tales of a Dreaming Wrinkle, Scherben, Berlin, 2022, as unfamiliar Arrangements (w/ Boaz Friedmann, Karólína Olafsdóttir, Sophie Urban).
Education
2016—2023, Kunstakademie Düsseldorf, Gradutaion with Peter Piller
2012—2016, Architecture and Urban Planning, UdK Berlin/Universidade Autónoma Lisboa (PT), since 2023 Member of the chamber of architects
Collaborations
since 2024,
︎︎︎ Linienstrasse 1
2018—2023, ÆdT- Am Ende des Tages 2
2022, ︎︎︎ LA CHAMBRE 3
Residencies/Grants
2024—2025, Residence NRW+, Münster
2024, Kunststiftung NRW, Research Grant for SOLBATEMIM, performative Publishing House, with Johanna Terhechte and Ludwig Kuffer4
2023, Diplomaprize, Freunde & Förderer der Kunstakademie Düsseldorf
2023, Projectgrant, The Gingko Foundation
2022, German Sholarship
2020, Aldegrever-Stipendium, Druckvereinigung Kloster Bentlage, Rheine
2020, Palazzo Ricci, Montepulciano (IT)
2019, BEST-Gruppe Projektpreis
Selected Solo-/Duopresentations
2024, iI, Hansaallee, Düsseldorf
2023, GONNG*, ÆdT-Am Ende des Tages, Düsseldorf
2021, unfamiliar Arrangements: an endless prequel, not yet titled, Regatta2, Düsseldorf, as unfamiliar Arrangements
2019, FEAR AS AN IDEA, Gold+Beton, Cologne
2018, Ort & Gebrauch, F.A.K. Münster
Selected Groupexhibitions
2024, They are putting out apples, it must be fall, Kunstverein Bielefeld, as Linienstraße (with Thomas Neumann und Sophie Urban)
2024, POROUS REPAIR, Petershof, Köln, curated by Jonas Habrich, Mira Siering
2024, The Egg and I, Great Expectations, eversince, Düsseldorf
2023, ENERGIE:ENERGEIA, Delphi, Freiburg i.Br.
2022, Der Einfluss des Raumes auf die Reichweite des Verkehrs, Rinde am Rhein, Düsseldorf
2022, LA CHAMBRE, düsseldorf photo+ festival, Düsseldorf
2022, Ominous Tales of a Dreaming Wrinkle, Scherben, Berlin, als unfamiliar Arrangements, curated by Haris Giannouras
2021, wrong biennale, MADE BY DESIRE, curated by Ida Kammerloch, Josefine Schulz, Annika Stoll
2020, 13_3_bis, Ant! Foto Bar, Düsseldorf
2019, dusk and dawn look just the same, PiK Deutz, Köln, curated by Susanne Mierzwiak, Kerstin Renerig, Layla Burger-Lichtenstein
2017, Akademie [Arbeitstitel], Kunsthalle Düsseldorf, curated by Anna-Lena Seiser, Dana Bergmann
1 The artist-run space is located in a former greengrocer’s. After its closing, the rooms
were used as an exhibition space, apartment and workshop. With its preserved retail
architecture and furnishings, the exhibition rooms extend to the back of the shop, now a
studio area for the group caring for the project.
By combining art production and exhibition making in the same space, the project looks for forms of collaboration, on-site production and uncharted dialogue. A model informed by its location in an area formerly connected to the steel industry and manufacturing. Here, the workshops and medium sized courtyards are hidden from the street. The idea of production in the rear and display in front still remains integral to the project.
A room of one’s own, that is a public space.
2 Up until 2023 the artist-run space ÆdT—Am Ende des Tages evolved to an experimental working model; inviting to exhibit in rooms of living.
Selected exhibtions from 2018-2023:
SCHNECKENHAUS (t.o.m.), Tim Diedrich & Moritz Englebert, Paul Galas, Viktoria Hoffmeier, Leckhaus, Svea Mausolf, Midnight Sun, Valeria Oggioni, Julius Reifen, Babette Semmer, Tumble Weeds, Vomit Heat, in collaboration with Sebastian von der Heide
AMPELN AUF AUGENHÖHE, Paul Niedermayer
SAFETY IN NUMBERS (SIN), Michael Dikta, Philip Markert
THREE INTERRUPTED TRIALS, Alessandro Cugola & Joseph Rigo
THIS TIMELESS TIME OF THE YEAR, Lucia Bachner, Anton Engel, Barbara Kręgiel, Sarah Ferreira dos Santos, Akinori Tao, invited by Lisa Klosterkötter, Elena Malzew
AN EASY METHOD OF REPRESENTING NATURAL OBJECTS ACCORDING TO THE RULES OF ART, Lisa Klinger & Malte van der Meyden
I AM ALL YOURS, Ekaterina Reinbold, Michel Wagenschütz
UNDER ANY SEA LIES A DESERT, Nicola Baratto & Yiannis Mouravas, curated by Haris Giannouras
NOTHING CLOSE ENOUGH, Alyce Ford, Rebecca Grundmann, Matthias Hoch, Tobias Hohn & Stanton Taylor, Moritz Krauth, Florence Lam & Tim Löhde, Lukas Langguth, Arisa Purkpong, Damian Rosellen, Josephine Scheuer, Kerry Downey & Joanna Seitz, Christoph Wiedemann
GIORGIO/TOWER, Karoline Dausien, curated by Marie Himmerich
THE DILATED BODY, Roman Schramm
I AM A CITY OF HABITS, Albin Bergström, Jackie Graßmann, Irina Lotarevich, Bruno Mokross, Evelyn Plaschg, Siggi Sekira, Dan Vogt, organised by Inga Charlotte Thiele
FRUITS SUSPENDED AND SWAYING, Ursula Böckler, Peter Fend, Hanna-Maria Hammari, Yong Xiang Li, Tanja Nis-Hansen, curated by Dennis Brzek
LIEDER EINES FAHRENDEN GESELLEN, Felix Bahret
POSITIONAL PROBLEMS, Boaz Yosef Friedman
SAFETY FIRST, Phung-Tien Phan & Niklas Taleb, presented by Simone Curaj
3 PARTS 1-3, with works by Virginia Ariu, Ludwig Kuffer, Clara Hausmann, Philip Markert, Esther Rosiny- Wieland & Sebastian von der Heide, Max Stocklosa, Aske Thiberg, Günther Möbius, Beth Collar, Sarah Doolan, Loretta Fahrenholz, Viktoria Wendel Skousen, Simon Wienk-Borgert, Sophie Urban, Paul Niedermayer, Michel Wagenschütz, Julius Metzger
4 At this state of research the performative aspect of the publishing house concentrates of site related concepts of each individual artist’s edition/publication.
Recent publications/editions include apearances at PROPS, Austin Munich, Salon Nr.26, Cologne or at oxfordberlin, Berlin.
By combining art production and exhibition making in the same space, the project looks for forms of collaboration, on-site production and uncharted dialogue. A model informed by its location in an area formerly connected to the steel industry and manufacturing. Here, the workshops and medium sized courtyards are hidden from the street. The idea of production in the rear and display in front still remains integral to the project.
A room of one’s own, that is a public space.
2 Up until 2023 the artist-run space ÆdT—Am Ende des Tages evolved to an experimental working model; inviting to exhibit in rooms of living.
Selected exhibtions from 2018-2023:
SCHNECKENHAUS (t.o.m.), Tim Diedrich & Moritz Englebert, Paul Galas, Viktoria Hoffmeier, Leckhaus, Svea Mausolf, Midnight Sun, Valeria Oggioni, Julius Reifen, Babette Semmer, Tumble Weeds, Vomit Heat, in collaboration with Sebastian von der Heide
AMPELN AUF AUGENHÖHE, Paul Niedermayer
SAFETY IN NUMBERS (SIN), Michael Dikta, Philip Markert
THREE INTERRUPTED TRIALS, Alessandro Cugola & Joseph Rigo
THIS TIMELESS TIME OF THE YEAR, Lucia Bachner, Anton Engel, Barbara Kręgiel, Sarah Ferreira dos Santos, Akinori Tao, invited by Lisa Klosterkötter, Elena Malzew
AN EASY METHOD OF REPRESENTING NATURAL OBJECTS ACCORDING TO THE RULES OF ART, Lisa Klinger & Malte van der Meyden
I AM ALL YOURS, Ekaterina Reinbold, Michel Wagenschütz
UNDER ANY SEA LIES A DESERT, Nicola Baratto & Yiannis Mouravas, curated by Haris Giannouras
NOTHING CLOSE ENOUGH, Alyce Ford, Rebecca Grundmann, Matthias Hoch, Tobias Hohn & Stanton Taylor, Moritz Krauth, Florence Lam & Tim Löhde, Lukas Langguth, Arisa Purkpong, Damian Rosellen, Josephine Scheuer, Kerry Downey & Joanna Seitz, Christoph Wiedemann
GIORGIO/TOWER, Karoline Dausien, curated by Marie Himmerich
THE DILATED BODY, Roman Schramm
I AM A CITY OF HABITS, Albin Bergström, Jackie Graßmann, Irina Lotarevich, Bruno Mokross, Evelyn Plaschg, Siggi Sekira, Dan Vogt, organised by Inga Charlotte Thiele
FRUITS SUSPENDED AND SWAYING, Ursula Böckler, Peter Fend, Hanna-Maria Hammari, Yong Xiang Li, Tanja Nis-Hansen, curated by Dennis Brzek
LIEDER EINES FAHRENDEN GESELLEN, Felix Bahret
POSITIONAL PROBLEMS, Boaz Yosef Friedman
SAFETY FIRST, Phung-Tien Phan & Niklas Taleb, presented by Simone Curaj
3 PARTS 1-3, with works by Virginia Ariu, Ludwig Kuffer, Clara Hausmann, Philip Markert, Esther Rosiny- Wieland & Sebastian von der Heide, Max Stocklosa, Aske Thiberg, Günther Möbius, Beth Collar, Sarah Doolan, Loretta Fahrenholz, Viktoria Wendel Skousen, Simon Wienk-Borgert, Sophie Urban, Paul Niedermayer, Michel Wagenschütz, Julius Metzger
4 At this state of research the performative aspect of the publishing house concentrates of site related concepts of each individual artist’s edition/publication.
Recent publications/editions include apearances at PROPS, Austin Munich, Salon Nr.26, Cologne or at oxfordberlin, Berlin.