Stein mit Vollausstattung
Lutz-Rainer Müller
Stian Ådlandsvik
Marc Pepper
Thomas Woll
permanent Installation
Opening Saturday April 5 at 2pm
Ab dem 05. April 2014 weht in Dortmund ein frischer Wind, denn der Dortmunder Kunstverein weiht ein neues Kunstwerk im öffentlichen Raum der Dortmunder Innenstadt ein.
Der «Stein mit Vollausstattung» ist eine partizipatorische Skulptur für die Dortmunder Innenstadt. Er besteht aus einem großen Kunstfelsen und einem Mast mit Windrad und Solarpanelen. Der gewonnene Strom wird den Passanten kostenlos zur Verfügung gestellt. Mit der Energie wird zudem ein Router betrieben, der offenes WLAN bietet. In Anlehnung an den Begriff der «Vollausstattung», der aus der Automobilbranche bekannt ist, wurde die Skulptur mit Gadgets ausgestattet, die ein Angebot an ihre Benutzer machen sollen. Entwickelt wurde sie von den Künstlerduos Stian Ådlandsvik und Lutz-Rainer Müller sowie Mark Pepper und Thomas Woll auf Einladung des Dortmunder Kunstvereins.
Diese Skulptur steht nicht nur im Mittelpunkt der Dortmunder Innenstadt, sondern im Zentrum einer Reihe von aktuellen Debatten. Neben der Diskussion um erneuerbare Energien und Fragen nach der kostenlosen Nutzung des Internets für jedermann, visualisiert diese Skulptur die Nutzung des öffentlichen Raumes als Ort der Kommunikation. Damit bietet sie eine künstlerische Reflexion von Teilhabe an der Energiewende und ihren partizipatorischen Möglichkeiten für die Bevölkerung.
SILK & SOUR
Lutz-Rainer Müller
Stian Ådlandsvik
May 24 - June 22 2013
Opening Friday May 24 at 7pm
In Silk & Sour Ådlandsvik and Müller utilize their collaboration and their own bodies as a point of departure to revisit photography, sculpture and abstract painting. There is a certain performative aspect in the creation of the works for the exhibition, in which the duo reflect on both themselves and the artist role – using irony and wit. The works show fragments of the situation of creation revealing the duo’s alluring collaborative nature.
CAT scans of the radius and luna bones from the artists’ arms are transformed into porcelain salt and pepper shakers, cocktails into paintings, and evening suits into abstracted photographs. In addition, the office chair of the gallery has been remodeled; fitted with a stove and connected to the gallery door, the artists have ensured themselves that the gallerist will have a warm alert every time visitors arrive.
Despite that the traces of the artists’ bodies and performances are profoundly present in the art works, the self becomes deconstructed and nearly eliminated.
Stian Ådlandsvik (b.1981) and Lutz-Rainer Müller (b. 1977) have worked together since 2006, and both hold degrees from the Oslo Academy of Fine Art. Ådlandsvik also attended the Hochschule für bildende Künste, Hamburg. Müller attended the Art Academy of Bergen, and additionally achieved a degree from Muthesius Kunsthochschule in Kiel. As a duo they have exhibited broadly in Europe. They live and work in Oslo and Leipzig.
The exhibition is accompanied by a paper sharing its title, featuring an essay written by Jan Freuchen, to be released on the opening night.
Solo Shows
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Group Shows
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works drumkit
drumkit, 2011 series of sculptures steel different sizes Bent metal from car wrecks that had been involved in accidents were collected and combined with parts of drum sets |
works bakomland
bakomland, 2011 with Stian Ådlandsvik Public Performance for the opening of a new pedestrian bridge, Oslo Kunsthall |
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works still life with modern guilt
still life with modern guilt, 2010 with Stian Ådlandsvik exhibition at gallery Mot international, London car bonnet, polyamide copies of artist's arm bones, suitcases, wallpaper, burnings |
still life with hyena,lotus and cave, 2010 with Stian Ådlandsvik Installation at W17 studio, Kunstnernes Hus, Oslo polyamide replicas of artists armbones, |
chanel altruiste, 2010 Installation (intervention) Chanel ÉgoÏste Heating water contaminated with Chanel ÉgoÏste perfume is leaking out of a heater inside the exhibition space. Part of the group exhibition "Fische hinterlassen keine Spuren" at Künstlerhaus Bremen (2010) |
devil's haircut, 2010 exhibition at berlin |
works maximal speed is a state of rest text
Maximal speed is a state of rest Müller`s exhibition plays out in four acts, overlapping and reflecting a great interest for the superfluous, the irrational or Dadaistic if one likes. They are all about bringing something back, either in reality or metaphorically - and they are all based on different historical and literary figures. The first act is Murphy, based on Samuel Beckett`s 1938 novel of the same name. Murphy finds his moment of zen being tied up, naked, in his rocking-chair, appeasing his body. The protoganist operates as a lone figure, resisting the presence of a world outside of his own. The second act, Sarah`s smile is based on the myths around the "Divine Sarah Bernhardt". Feted to be the best actress in the history of the world in her heyday (in the early 20th century) for theatre, Bernhardt played almost exclusively male parts. And so it was impossibile to ever capture her performance or, even, to see her smile. This reflects the inherent impossibility within all of Müller's works. Another idea that will be delt with in Müllers works is the notion of our world lacking both a single truth transcending its respective contexts as well as one might be inferred. Any statements, expectations and meanings are therefore provisional. A flying hat refers to Hans Richter's Ghost before breakfast (vormittagsspuk), 1929. The oversized hat (made in copper) will hover within the space, fall down (in slow motion) any give time and might even end up in a nearby lake. The fourth (and possibly the last) act of Müller`s project, is that of a retrieval. Müller is currently in Amsterdam where he has located the canal that Bas Jan Ader cycled into in his piece FALL II, 1970. Müller is there to fish up as many bikes as possible to transport back to Leipzig for the show. This action operates as a false archaeology, a symbolic action that wants to pay its respect to the past as well as the future. It also resonates with his long term project with Jan Freuchen (Objet Perdu), last shown in Pierogi last year. This is possibly the first exhibition by Müller that shows the multiple layers of his interests and telling various stories at once in an attempt to generate narratives. He dwells on the impossible as in his search for Bas Jan Ader's bike in the canal and in contemplating the smile of Sarah Bernhardt. Also his profound interest in escapism and solipsism are expressed very clearly here. The show will not only have newer works but parts of elder works will be shown. There will be a signed and numbered limited edition catalogue available.
works maximal speed is a state of rest pictures |
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maximal speed is a rest of state, 2008 solo show at Pierogi gallery, Leipzig |
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works mememe in history
mememe in history, 2008 |
works sketches for the meantime
sketches for the meantime, 2006 with Stian Ådlandsvik temporary installation at Fotogalleriet, Oslo fluorescents from gallery ceiling, stolen park bench, stolen trash bin, divers materials |
works objet perdu
objet perdu, since 2006 with Jan Freuchen transformative sculpture project mixed media |
works streetlight
street light, 2005 temporary installation at Galleri No. 9, Oslo mirrors, divers materials Six mirrors installed to steal the light off the |
works renegade cloud
renegade cloud, 2003 temporary installation and performance |
works signature
signature, 2003 temporary installation (intervention) inscription in acre with a traktor |
1999 - 2005 Muthesius Kunsthochschule, Kiel
2003 The Art Academy in Bergen (exchange)
2004 - 2006 National Art Academy, Oslo