DANIEL KNORR
GALER IE NACHST ST.STEPHAN
ROSEMARIE SCHWARZWALDER
Works 1999 - 2016
Capillaire, 2015
Acrylic glass, air, aerosol pigments, Brugmansia
microbiological smear
Height: 200 cm Diameter: 30 cm
Capillaire is a series of acrylic tubes containing different types of poison.
The title refers to the capillary vessels of a body. The architecture – the
gallery – could be seen as the prolongation state body. In fact architecture
corresponds to state standardization and incorporates a biopolitical
structure. The presence of poison in a body can have different reasons. It
can be used as a so – called antibody (anticorps) in order to boost the
immune system and to destroy “foreign objects” like viruses or dangerous
bacteria. In the same time it can be dangerous in the body if its
concentration is higher than recommended. Continuing the analogy with
the state, while on one side the poison controls the society, it can at the
same time be dangerous if it gets out of control. (The poison stands also
for the “bad” veins in the state body, namely the terrorists and the antigovernmental structures, the antibody as a needed “vaccine” in the
governmental play.)
The used poisons have the role of forming the shape of history related to
its social, political and cultural background. Poisons have been used to kill
statesmen (Napoleon by arsenic), or to control the demonstrators during
riots (Pompidou used teargas against the students in 1968), or birth
control (Atropa Belladona as abortifacient agent in east Europe) or
Brugmansia as educational tool for naughty children (West Amazone –
Chile), just to name a few. Poisons are designing tools and a kind of
biopolitical structure of our society and the work Capillaire is examining
the abundance of their use in our common “historic body”.
Pietra della Rinascita (2015)
(Rebirth Stone)
concrete
copy of TSAK KAR
from Gyumri Armenia ~ 3000 B.C.
300 cm x 280 cm x 220 cm
Concept:
The concrete stone is a copy of the basalt stone located in Gyumri
Armenia. Since 5000 years the people of Shirak region “pass“ through the
stone and get “reborn“. The work materilalizes the folcloric habit,
celebrating „rebirth“ as an cultural act.
Story:
The Legend says that the stone is there since at least 5000 years and
people crawl through the hole and get reborn. It is a place of spiritual
pilgrimage and a site where families do picnic and grill.
When we approach the stone we can find on the interior walls of the hole,
high polished areas that are very glossy. The provenience comes from the
fact of friction between the stone and the bodies that „slipped“ through
the hole during history. The size of the hole is exactly that big that an
„average“ person of that region passes through. The site is touristically
„not discovered“ and serve its spiritual and leisure objective for visitors
from around the area since then.
The idea is the reproduction of an object that was created in time by
spirituality and corporality, using the materials that are familiar to us
today, concrete. I am interested in the connection between human and
nature and I want to materialize it using the reference between the
historic development of what we call nature.
Concrete is the material of civilization and using it in this context,
materializes the idea of a biological connection between humans and the
biopolitical system, represented by this material.
Exhibition „Lunarium“
Galerie nächst St. Stephan Rosemarie Schwarzwälder
March 26 – May 3, 2014
This exhibition examines the state of things from the outside, from where
they once were but are now estranged. Works appear to make the power
of chance visible. What I want to achieve is a look forward into the
unconscious – the place where we think change is something ‘imagined.’
The gallery’s Login, a small room which faces the street, is the place of
initial encounter for the audience. In it, a connection is established. The
room’s environment has been designed to be the opposite of a solarium.
The Lunarium evokes paleness and refinement, which is a recurring
emblem of Vienna’s urban culture. It is about realizing the potential of the
night – to discover it and reflect on the prospects it holds, while others
succumb to sleep. The Lunarium is only open to visitors at night between
12 midnight and 5 a.m.
Nighttime is perhaps our last truly private domain – the time we exist only
for ourselves, alone with our bodies and our dreams. A key idea is
therefore to introduce an element of wakefulness as a way of commenting
and contrasting the pathos of conspiracy and crime that the night evokes.
While the Lunarium is visible only at night, the puddles in the Depression
Elevations represent something that is only visible when it rains. This work
transfers the idea of the world’s lowest points to the city Vienna. Their
forms reflect street deformations and abrasions, incorporating the role of
the street as historical witness to certain times and practices. The
materials used are plastics containing crystal-clear polyurethanes, which
were created exclusively for creative industries in the US. The colors
correspond to the current industrial design code for public spaces and are
based on colors used for packaging, various consumer goods, and
company names. The puddles in the exhibition represent carefully selected
sites in Vienna.
The work “Block” encourages visitors to examine history and cultural
traditions from a new perspective. The classical musical instruments,
which have become integral to Vienna in the last several centuries, are
locked up in a cage. Are they dangerous? If yes, how so? Originally realized
in another version for Artspace in Auckland, New Zealand, in 2009, this
work is an investigation of musical instruments as tools of territorial and
cultural colonization. As instruments, they have a wonderful sound, and
they captivate us with their gentleness and assertiveness. They are
expressions of culture and attitude, and they continually remind us of this
indirectly every time they are used to make music. Visitors are also
allowed to play the instruments; there is a key to the cage.
In the third room is a new series that germinated in the streets of Berlin.
At different locations in the city, the artist set up illegal advertisement
boards that almost immediately became plastered with posters advertising
different events. While offering a subjective view, the cut-outs shown here
also document the ‘wild cultural landscape’ of Berlin.
LUNARIUM (2014)
materialization
complete storefront and space
Galerie Nächst St. Stephan Vienna
The concept of the work was to cover the facade of the project room space
of the gallery with black duvet used in theater for courtains to delimitate the
scene from architecture. Further the space was opened only at night between
00:00 – 5:00. The door was a bit opened, so far in order to let just the
streetlight enter.
The user could discover the night as a new element in order to explain
questions about identity, history and the position of "the other". The work
develops in future in the way that it materializes a new condition (the one of
the work itself) of viewing life. It can be realized in similar spaces that can get
accessible to public between midnight and five o clock.
Depression Elevation (since 2013)
Materialization
various dimensions and colors
polyurethane uv resistant
Kayne Griffin Corcoran, USA
Galerie nächst St. Stephan Vienna
The concept started in Los Angeles by moulding depressions of the streets
and highways and casting them using a new resin and related colors,
especially designed for the creative industries located in California by a
company called Smooth – On Inc. The work reflects the urban surface as
biopolitical and biological representation of human action caught in time.
Each casting is particular in size and color.
For this series of works, Knorr appropriated street surface deformations
and irregularities using casts made in a complex process to effect an
artistic representation. As documents of specific times and practices, the
brightly colored wall reliefs are completely abstract objects referring to
actual places (named in the titles) where surfaces are worn down through
their long-time use in civic infrastructure. For his molds, Knorr used
plastics containing crystal-clear polyurethanes, which were designed in the
US exclusively for the creative industries. The colors correspond to today’s
industrial design code for public space and are inspired by colors used for
printed packaging, various consumer goods, and company names.
Knorr’s extractions from depressions in the earth’s surface take the shape
of “inverted” reliefs. Looking through the smooth surface of the
transparent mold, beholders can make out the irregularities in its depths
that lend its unique visual structure. This “inversion” also takes place on
the aesthetic level, transforming the rough, gray potholes into “eye
candy.” The wall objects’ artificial colors and polished, even surfaces
remind us of Skittles or Jell-O, with their chemical, artificial taste. The flat
surfaces may also trigger associations with works by John McCracken and
other American West Coast artists influenced by car culture. In this way,
Daniel Knorr’s objects maintain a balance between the well-worn ground
and the perfect surface.
The “MAKING of”
After cleaning the selected potholes Daniel Knorr takes a cast of the holes
using alginate. This material is used by dentists for dental impression and
is known to cast every detail. The hardened cast is then transported to his
studio; silicone is poured over the cast, wrapped in plaster.
As soon as the silicone has cured, Knorr removes the alginate. Now the
silicone serves as casting mold for the transparent polyurethane which is
mixed with various pigments. The curing process of the polyurethane takes
around four weeks. After this process, the object can be installed on the
wall.
Depression Elevation (München, Feldherrenhalle, Magma), 2015
pigmented polyurethane casting, UV resistant
190 x 190 x 4 cm (75 x 75 x 1 9/16 in.)
Depression Elevation (Berlin, Brunnenstraße Nike Drive), 2016
pigmented polyurethane casting, UV resistant
170 x 120 x 4 cm (67 x 47 x 1 9/16 in.)
Depression Elevation (Berlin, Weinbergspark Heart of a Tree), 2016
pigmented polyurethane casting, UV resistant
83 x 65 x 4 cm (32 2/3 x 25 1/2 x 1 1/2 in.)
Depression Elevation (Berlin, Brunnenstraße Hundertwasser), 2016
pigmented polyurethane casting, UV resistant
70 x 80 x 4 cm (27 1/2 x 31 1/2 x 1 1/2 in.)
Depression Elevation (Paris, Pont Neuf Cognac Tabac), 2016
pigmented polyurethane casting, UV resistant
150 x 135 x 5 cm (59 x 53 x 2 in.)
Depression Elevation (Berlin, Tiergarten Third Modernist), 2016
pigmented polyurethane casting, UV resistant
120 x 130 x 5 cm (47 1/4 x 51 1/4 x 2 in.)
Instant Community 2013
materialization
wire bobbin
various materials and sizes
interactive
Tranzit Cluj, Romania
Vulcano Solfatara, Italy
A bobbin of a certain length of wire gets unrolled by the artist and visitors
of the exhibition. The wire is soft and can take the forms of the viewers
interaction. After the opening, the visitors can still change the form and
position of the wire. The work is the experience of material in haptic and
expansive dynamic way, enabling the perception of consumption and
expression in cultural space and thus materializing common perception.
Further the piece has different stages of expansion, from it´s first
introduction as a bobbin, to different forms in time and space, that can
enlessly be changed by the viewer. When the presentation is finished
(decided by owner or curator), the work is not to be stored, but given to
metal recycling. When again staged, a new bobbin can be ordered.
The work was shown in 2013 in Cluj / Ro using 2000 meters of 5 mm soft
metal wire and in Vulcano Solfatara / It, using 2500 meters of aluminium
wire of 5 mm.
AT YOUR SERVICE - ART AND LABOUR
An exhibition by the Technisches Museum Wien
and ERSTE Foundation
23 March 2012 – 03 March 2013
Bettelroboter Alpha & Beta, 2012
Installation in the Museum and in the public space
Knorr’s robots carry out a special kind of work: they are begging robots.
While an earlier prototype is exhibited in a museum showcase, the latest
generation is on active duty. One robot is busy working the Museum and
its doppelganger is out “earning money” in Vienna’s urban environment. In
reference to the law of robotics formulated by science fiction author Isaac
Asimov stating that “a robot must protect its own existence”, the money
raised through begging is used for repairs or to manufacture other robots.
Knorr’s ultimate aim is to manufacture the begging robot as an industrial
production-line product.
Smoking in the Museum (2012)
Materialization
Guidance system, glass,
metal, air-cleaning device
Kunsthalle Bremen
Kunstpreis der Böttcherstraße
The separation and control over the act of smoking happens also very strong
in the media, trying to educate the society to a better “health care
conciousness”. The first and strongest anti-tabacco movement, was initiated
in Nazi Germany during the 1930s and early 1940 using the Motto: “The
German woman doesn´t smoke”. Smoking was seen as “racial degeneracy”
and was banned even from public space.
Formally the work can be seen as a materialization of actual bio policy, driven
by a contemporary collective consciousness of health care, which was
established in the past decades. The lifestyle that gets controlled by such an
ideology, is just one element in the sensitive ongoing discussion between
smokers and non-smokers. It represents a field where the power of politics
and state, is launched on a global scale, initiating a “synchronized” cultural political discussion.
The result of this confrontation between all levels of culture, fashion and
politics, etc. around smoking, gets “regulated”, by governmental decisions of
bio-political matter and rigorousness, allowing the appearance of such
constructions like the smokers cabin.
The work has the target to materialize the relationship that established
between the state and its citizens, exposing the executive state power as an
object of reflection, in a historic and anticipative way.
2 Dollar Pig, 2012
inkjet on paper
big 100 cm x 80 cm x 20 cm
small 50 cm x 45 cm x 10 cm
color: 3 pigs, singular, big and small
black and white: pigsty of 30 pigs
dimensions variable
Galerie Nächst St. Stephan Wien
Salonul de Proiecte, Bucharest
The concept of the work is to blow up to life size, the wellknown origami pig, made of an original dollar bill. The
work has multiple materializations, from three piglets
and single pigs to black and white
pigsty.
The history of the origami is not clear but the first ones came
up in China during Sung Dynasty (905-1125) and had their
culmination point in Japan and the European countries, as
well as in the US. The work is constructed from a macrosized 2dollar bill, materialized in folded origami pigs of two different
sizes. This banknote was chosen particularly, because
it
continues the representation of luck, moreover it’s already a
collectors item and even more worth than its “represented” value
on the market. This aspect introduces the question
of
value and representation of an object in the same way art
does. The pig has mainly positive associations to luck, prosperity
and perfection, but also it relates to the word `pig´ which
developed also a negative connotation. The connection
of
these meanings to money and its “personalization” is the
metaphor of the piece. The multitude of meanings instilled
in the piece, start to materialize in the head of the viewer.
In that way, the origami dollar pig contains opposes codes and
social values, and makes the work adaptable and referential
to reality and various situations in contemporary life.
Vogelscheuchen (Scarecrows), 2012
Marie Antoinette and Louis XVI
Materialization
wood, metal, textile, straw, jewelry
each 400 cm x 200 cm x 100 cm
MUMOK Vienna
The concept behind this work was to take historical paintings as a basis for
reconstructing the royal garments of Marie Antoinette and Louis XVI,
stuffing them with straw, and making scarecrows out of them.
Essentially, this is meant as the materialization of a subjective perception
of history. The point of reference here is the historical moment when
feudalism was dismantled by the French revolution. “Equality” became
one of the three fundamental characteristics of democracy. Associated
with this was the idea that goût (“taste”) was a kind of vehicle for
democracy that was now available to all citizens. In the nineteenth
century, high taste became haute couture, and the first fashion houses
emerged in Paris around 1860. Haute couture developed because the
wealthy classes strove for distinction from the middle and lower classes.
This distinction ran counter to the original democratic idea of “equality.”
This artwork explores the idea that haute couture initiated a return to the
feudal era by supporting social separation.
As a Viennese lady of high society, Marie Antoinette made the return to
feudalism possible for many. In contemporary fashion, Vivien Westwood
was one of the first fashion designers to work with her image. Another
example is Sofia Coppola and her film Marie Antoinette. There are also
countless blogs, articles, books, and clothes that pay homage to the queen.
The goal of this work is to present a “subjective” view of a particular
historical moment and to allow the otherwise selective perception of
history to stray somewhat. History is an element that structures our
thinking and helps us to establish a pattern. Within this pattern, history is
regarded as an extremely representative form of a system that is always
constant, conscious of traditions, and linearly “propagated” into the
future. This work is a synthesis of historical events, the materialization of a
revolutionary moment, and historically subversive material. The work’s
correct interpretation requires knowledge of our contemporary canon of
perception. If, in the future, we no longer have this canon or if it were no
longer “rooted” in history, we would need a new way of reading the “royal
scarecrows.” In the end, the work is a critique of a feudal way of thinking
that has been running like a common thread through human nature for
generations.
* Taken from : Elisabeth Vigée Lebrun, Marie Antoinette, 1778, Kunsthistorisches Museum, Wien;
Joseph-Siffred Duplessis, Louis XVI, 1777, Musée du Carnavalet, Paris
Inherit, Donation, Transfer (the arms of
Venus), 2011
materialization
white Carrara marble
left: 16 cm x 100 cm x 19 cm
right: 16,5 cm x 75 cm x 13 cm
The first idea behind the arms of Venus, is firstly feministic,
to give autonomy to the original sculpture and „arm it“. From
when it was found in 1820 it served till nowadays, the role of
„beauty“ and most perfect body underlining the representation
of the woman as an object. This was transported in our canon
of perception. The arms located on the windowsill show
the ability to „act“, or represent acting. The subversion is
formulated regarding the future. History „compresses“ time
and if the arms „survive“ in the next 2000 – 3000 years, the
sculpture will materially „adjust itself“ to Venus de Milo from
Paris. Maybe the times will allow the discovery saying „well we
have the arms now, found in a private collection“. Here the
potential of subversion is a time capsule, the older the piece
gets the more it comes near to the one that was found now
200 years ago.
Stolen History, 2009Materialization
fabric, variable dimensions
U-turn Quadriennial Copenhagen
Fokus Lodz Biennial
The piece is a further materialization of a work that started
in 2008 covering the heads of public statues with balaclavas
in Copenhagen addressing contemporary themes to the
public sculptures that visualy got anonymized through the
intervention.
The actual size of the present balaclava fits the statue of
liberty in New York. Hidden on a small courtyard, sideways
from Piotrkowska street in Lodz, the work was built up on a
supporting structure using wires and a framework. The work
asked about identity claims in relation with the subject of
liberty and challenged associations with the political situation
of that time of today. It represents also a single closed cell
of people, in proportion to the city, like a cell in the brain of
consciousness.
Stolen History, 2010
C-Print, ed. 3/3 + 1 A.P., 1/1 A.P., 70 parts
each 30,5 x 21 cm (12 x 8 1/4 in.) , framed each 31,9 x 22,4 cm (12 1/2 x 8 13/16 in.)
Stolen History, Statue of Liberty, personalized, 2011
fabric, ed. 1/5 + 1 AP, 50 x Ø 25 cm (19 11/16 x Ø 9 7/8 in.)
Validate me, 2009
Interactive work
5 LCD monitors, sensors, software program
Kunsthalle Basel
edition of 5
The work consists of installing a detection system in the
exhibition space of the Kunsthalle Basel. The exhibition space
has the shape of a gun. It is in this way that an exemplary
study about art and the politics of representation is initiated.
The gun stays “a priori” for any exhibition space. The
detection system (People Counter) surveys the space and
displays information about the number of visitors that are in
the exhibition rooms. The trajectory of each visitor is shown
on LCD screens that are installed in each room of the show.
Once the show ends, the sensors and the system will stay
in the Kunsthalle and transmit data (via the internet) to the
monitors (editions) worldwide.
Nationalgalerie, 2008
52 flags of berlin based student corporations
each 320 cm x 280 cm
textile, metal
5th Berlin Biennale,
When things cast no shadow.
The concept of the work is the materialisation of history
and present in a color bar code which represents a power
structure in the state. Implemented at a certain society level
in Germany, with strong expansion potential, the student
corporations serve nationalist and conservative structures
and are hierarchically organized towards certain colors and
codes. Large number of corporated students are positioned
on high society levels importing the principle of their “colors“
into the structure of the society.
La femme de ma vie ne m´aime pas encore,
1999
Fri Art Centre d´Art Contemporain Fribourg
99 pieces, papier maché,
180 cm x 150 cm - 7 cm x 7,5 cm
Collection Neue Pinakothek Munich
Welcome, 2011
Galerie Nächst St. Stephan, Vienna
19 pieces, papier maché,
180 cm x 150 cm – 5 cm – 4,5 cm
99 paper maché puppets were made using the russian
traditional way of painting. About 5 “families“ could be formed
in sizes from 7 cm to 200 cm height. The tradition,
a “biological” factor which influences our perception is always
implemented when considering relationships within society.
The puppets technically entering one in each other, are
materializing different ways and values after which tradition
is flowing through the “layers” of our character influencing
our “taste“.
The second edition of the work was produced more than 10
years after. It marks a changing point in the perception of a
tradition. Matrjoska is a historic moment of common desires
that now seem to become even more unreachable and for that
reason displayed in black and white. The colored Matrjoska
was lent from the cleaning woman that bought it just after its
production in Switzerland back in 1999.
BIOGRAPHY
Born 1968 in Bucharest, Romania
Lives and works in Berlin, Germany
SOLO EXHIBITIONS (selection)
2016
Appropriating Language #14: State of Mind, Manière Noire, Berlin. Germany
2015
Veni Vidi Napoli, Galleria Fonti, Naples, Italy
2014
Lunarium, Galerie nächst St. Stephan Rosemarie Schwarzwälder, Vienna, Austria
2013
Vulkanstr., Vulcano Solfatara - Sala del Bianchetto, organized by Galleria Fonti, Naples,
Italy
Depression Elevations, Kayne Griffin Corcoran Gallery, Los Angeles, California
Instant Community, tranzit.ro/ Cluj, Cluj, Romania
2012
Piggy Bank, with Coate Goale, Salonul de Proiecte, Bucharest, Romania
skulptur: Explosion, Kunsthalle Wien Karlsplatz Public Space, Vienna, Austria
Official Fire, Kunstverein Arnsberg, Arnsberg, Germany
2011
M. eine Stadt sucht ihren Mörder, Lothringer_13_Halle, Munich, Germany
Dead Letter Office, Galerie nächst St. Stephan Rosemarie Schwarzwälder, Vienna, Austria
Limits of Jurisdiction, Romanian Cultural Institut and Färgfabriken, Stockholm, Sweden
2010
Family Jewels, Kunstverein Arnsberg, Germany
Urlo, Galleria Fonti, Naples, Italy
2009 Led R. Nanirok, Kunsthalle Basel, Switzerland, catalogue
Awake Asleep, Museum of Modern Art, Warsaw, Poland
Block, Artspace, Auckland, New Zealand
2008
Scherben bringen Glück, Fridericianum, Kassel, Germany, catalogue
The way politics influence art and vice versa, Fondazione March, Padova, Italy
Awake Asleep, Borges Libreria, Guangzhou; Fei Center for contemporary art, Shanghai;
space e6, Shenzen, China, catalogue
2007
1 Year Warranty, Skulpturenpark Berlin-Mitte, Public Space, Berlin, Germany, catalogue
2006
Extranjero ven a votar! Studio Protokoll, Cluj-Napoca, Romania, catalogue
2005
European Influenza, Romanian Pavilion, 51rst Biennale, Venice, Italy, catalogue
2004
Agents, Rote Zelle, Munich, Germany, catalogue
2002
Visible/Invisible Series, The Project, New York, New York
Robot walking in an exaggerated manner around the perimeter of a square, Serge
Ziegler Galerie, Zurich, Switzerland
2001
Not Another Ready Made, Serge Ziegler Galerie, Zurich, Art Chicago 2001, Chicago, Illinois
Klaus, Klaus kommt auch zu Fuss, Serge Ziegler Galerie, Zurich, Switzerland
Haste ma' ne Mark, Museum Folkwang, Essen, Germany, catalogue
1999
La femme de ma vie ne m'aime pas encore, Fri-Art, Fribourg, Switzerland, catalogue
1994
Good Old Times, Kunstforum Lenbachhaus, Munich, Germany
GROUP EXHIBITIONS (selection)
2017
Documenta 14, Kassel, Germany and Athens, Greece
2016
The Soul of Money, DOX Centre for Contemporary Art, Prague, Czech Republic
2015
Feiert das Leben! / Celebrate Life!, Kunsthistorisches Museum, Vienna, Austria
Remember Lidice, Edition Block, Berlin, Germany
Europa, die Zukunft der Geschichte, Kunsthaus Zürich, Zurich, Switzerland
Con(temporary) De(materialized), Kunstverein Hamburg, Hamburg, Germany
Re Discovery, Autocenter Berlin, Berlin, Germany
Unendliche Bibliothek, Alte Fabrik, Gebert Stiftung für Kultur, Rapperswil-Jona,
Switzerland
2014
INPUT/OUTPUT - Worpswede zeitgenössisch, Worpsweder Museen, Worpswede,
Germany
Inundumundumherum, Kunstverein Arnsberg, Arnsberg, Germany
Made in LA, Lamoa project, Hammer Museum Los Angeles
Show us your dreams Museum of Modern Art Warsaw
Mobile Biennale 1, Turul Olteniei in 7 Zile, MNAC, Bucharest Romania
Dispozitii in timp si spatiu, MNAC Bucharest
Fractures, The Jerusalem Show VII, Qalandiya International, Gaza
2013
Cattedrale, Istituto Svizzero, Rome, Italy
Berliner Herbstsalon, Maxim Gorki Theater, Berlin, Germany
The Way of the Shovel: Art as Archaeology, Museum of Contemporary Art, Chicago,
Illinois
Nation Building, Maxim Gorki Theater, Berlin, Germany
La empresa soy yo. Trabajo y subjetividad / I am the Company - Labor and Subjectivity,
Casa del Lago Juan José Arreola, Mexico City, Mexico
In the Heart of the Country. The collection of the Museum of Modern Art of Warsaw,
Museum of Modern Art of Warsaw, Warsaw, Poland
Monkey Business, Galerie Sophie Scheidecker, Paris, France
Le Pont, Mac Musée d’Art Contemporain de Marseille, Marseille, France
2012
Openings Out to Reality. Unità di Dismisura. Una Moneta per San Lorenzo, Istituto
Svizzero, Rome, Italy
Papierwelten, Galerie nächst St. Stephan Rosemarie Schwarzwälder, Vienna, Austria
Goldrausch. Gegenwartskunst aus, mit oder über Gold, Kunsthalle Nürnberg, Germany;
Villa Merkel, Esslingen, Germany, catalogue
Kunstpreis der Böttcherstraße in Bremen, Kunsthalle Bremen, Germany
Reflecting Fashion. Kunst und Mode seit der Moderne, MUMOK Museum moderner
Kunst Stiftung Ludwig Wien, Vienna, Austria
Say it loud, District, Berlin, Germany
The archeology of memory, Sorø Kunstmuseum, Sorø, Denmark
At Your Service - Art and Labour -, Technisches Museum and Erste Foundation,
Museumsplatz, Vienna, Austria; Museum Arbeitswelt, Steyr, Austria (2013)
How To Make - Ideen, Notationen, Materialisierungen, Kunsthaus Dresden, Dresden,
Germany
In anderen Worten. Der Schwarzmarkt der Übersetzungen - mit zeitgenössischen
Kulturen handeln, NGBK Neue Gesellschaft für Bildende Kunst und Künstlerhaus
Bethanien, Berlin, Germany
Archaeology of Memory, Sorø Kunstmuseum, Sorø, Denmark, catalogue
2011
Steirischer Herbst, Zweite Welt. Wohin schreitet der Fortschritt?, curated by What, How
& for Whom/WHW, c/o Galerie Zimmermann Kratochwill & Festivaldistrikt, Graz, Austria
Ogni cosa a suo tempo. Capitolo II: Daniel Knorr e Riccardo Beretta, GAMeC, Bergamo,
Italy
Art on lake, National Museum of Fine Art, Budapest, Hungary, catalogue
Collection of Migros Museum, Fridericianum, Kassel, Germany
Nova Galeria, Zagreb, Slovenia
Second World, Steierischer Herbst, Graz, Austria, catalogue
Biennial of Graphic Arts, Lublijana, Slovenia, catalogue
2010
The promises of the past, Centre Pompidou, Paris, France, catalogue
Early Years, Kunstwerke Berlin, Germany
Artefact Festival, STUK Kunstencentrum, Leuven, Belgium
The Romanian Cultural Resolution, Baumwollspinnerei, Leipzig, Germany, catalogue
Post Monument, Biennale di Carrara, Carrara, Italy, catalogue
Fokus, Lodz Biennale, Lodz, Poland
Touched, Liverpool Biennale, Liverpool, Great Britain, catalogue
La Ciudad Interpretada, CGAC, Santiago de Compostella, Spain
New Mobility, Art Today Association, Plovdiv, Bulgaria
No ifs no buts, Open Space, Vienna, Austria
Correct me if I am critical, Felleshus of Nordic Embassy, Berlin, Germany
2009
Viva l´Italia, Galleria Astuni, Bologna, Italy
Various Platonisms, Galerie Elisa Platteau, Bruxelles, Belgium
The Archeologists, Ursula Blickle Stiftung, Kraichtal, Germany
Reading the city, EV+A, Limerick, Ireland, catalogue
Simple Gesture, Trafo, Budapest, Hungary
Fake or Feint, Berlin Carré am Alexanderplatz, Berlin, Germany, catalogue
2008
When things cast no shadow, 5th Berlin Biennale, Berlin, Germany, catalogue
The Principle of Hope, Manifesta 7, European Biennial, Rovereto, Italy, catalogue
U-Turn, Quadriennale, Copenhagen, Denmark, catalogue
Art as a Gift, Periferic 8, Bienniale, Iasi, Romania, catalogue
Antwerp Sculpture Show, t´Zuid, Muhka Antwerpen, Belgium
Between the pictures, Xposeptember Festival, Stockholm, Sweden, catalogue
Afterthought, IrmaVepLab, Reims, France
2007
Wir haben keine Probleme, Bergen Kunsthalle, Oslo, Norway
Invisible Invincible, Curators Without Borders, Berlin, Germany
Beneath the Underdog, Gagosian Gallery, New York, New York
Bodycheck, Triennale für Kleinplastik, Fellbach, Germany, catalogue
Spatiul Public, Bucharest, Romania, catalogue
Parallel Moments, Azad Gallery, Teheran, Iran
Place makers, Curators without borders, Berlin, Germany
Chocolates, Anti Museo Ojo Atómico, Madrid; Palau Ducal, Valencia, Spain
2006
Chocolates, Museo Carillo Gil, Mexico City, Mexico, catalogue
Outdoors, Danielle Arnaud contemporary art, London, Great Britain
Mafia or an unopened pack of cigarettes, Galerie Standard, Oslo, Norway
Check-in Europe, EPO, Munich, Germany
2005
Ortsbegehung, Neuer Berliner Kunstverein, Berlin, Germany, catalogue
Ein Arkadien der Moderne? 100 Jahre Künstlerhaus Villa Romana, Neues Musem,
Weimar, Germany, catalogue
ADAM, Smart Project Space, Amsterdam, The Netherlands
2004
5th Cetinje Biennale, Cetinje, Montenegro, catalogue
Berlin Murmur, Ecole Superièure des Beaux-Arts, Metz, France
Raumpool, Frankfurt/M., Germany
2003
Solmurlaici, Centre Culturel Suisse, Paris, France, catalogue
Crossing Perspectives, Enlargment of the Minds, ECF Headquarters, Amsterdam, The Netherlands
2002
Unstable Narratives, Hartware MediaKunstVerein, Dortmund, Germany
Public affairs, Kunsthaus Zurich, Switzerland, catalogue
2001
Favorites, Serge Ziegler Galerie, Zurich, Switzerland
Foto-Documente, Galeria Noua, Bucharest, Romania
Periferic, Romanian Biennal, Iasi, Romania, catalogue
Site Co-Opted, Andrew Kreps Gallery, New York, New York
2000
Hey international competiton style, TENT, Rotterdam, The Netherlands
LISTE 2000, Fri-Art, Centre d'Art Contemporain Fribourg, Basel, Switzerland
On the spot, Bern, Switzerland
Weltwärts, Kunstmuseum Bonn, Germany
Cafe Helga & Galerie Goldankauf, Kunstraum München, Munich, Germany, catalogue
1999
Dream City, Kunstverein München, Munich, Germany, catalogue
1998
Ateliers des Artistes, Marseille, France, catalogue
Personne sait plus, Villa Arson, Nice, France, catalogue
1997
Gang of Munich, Shedhalle, Zurich, Switzerland
1996
Update, Copenhagen, Denmark
1995
Collisiones, workshop, San Sebastian, Spain, catalogue
1994
Station, Interimsgalerie 2, Galerie der Künstler, Munich, Germany, catalogue
opening show, Galeri Nicolai Wallner, Copenhagen, Denmark
MUSEUM COLLECTIONS
Belvedere, 21er Haus, Vienna, Austria
Collection GAMeC, Bergamo, Italy
Kunstmuseum Bonn, Bonn, Germany (Stiftung KiCo)
Kunstverein Bremen, Bremen, Germany
Lenbachhaus, Munich, Germany
Museum Folkwang, Essen, Germany
Museum im Stasi-Bunker, Leipzig, Germany
MuHKA, Musueum of Contemporary Art, Antwerpen, Belgium
Pinakothek der Moderne, Munich, Germany
CORPORATE COLLECTIONS
Collectione Tullio Leggeri, Museo ALT, Bergamo, Italy
Collection Michel Samuel Weiss, Moulhouse, France
Erste Bank Collection, Vienna, Austria
Migros Museum für Gegenwartskunst, Zurich, Switzerland
Nancy A Nasher and David J Haemisegger Collection, Dallas, Texas
Sammlung zeitgenössischer Kunst der Bundesrepublik Deutschland
Vehbi Koç Foundation, Istanbul, Turkey
PUBLIC COMMISSIONS
“One meter cube of freedom”, Public Sculpture in Rome, Italy, commissioned by the Swiss
Institute, Rome and by Gorki Theatre, Berlin, Germany (ongoing)