Unsere Vitrine zum Hof beherbergt das Ausstellungsprojekt *TheTip ( www.thetip.de ). Lars Karl Becker lädt regelmässig Künstler_Innen ein, die Vitrine zu bespielen.
Julian Feritsch – Julia Hohenwarter – Daniel Wind
17.05.2017 – 08.08.2017, OPENING 16.05.2017, 19h
Ilka Schön – Maurice Uhrhahn
Whether it be the sweeping eagle in his flight, or the open apple-blossom, the toiling work-horse, the blithe swan, the branching oak, the winding stream at its base, the drifting clouds, over all the coursing sun, form ever follows function, and this is the law. Where function does not change, form does not change. The granite rocks, the ever-brooding hills, remain for ages; the lightning lives, comes into shape, and dies, in a twinkling. It is the pervading law of all things organic and inorganic, of all things physical and metaphysical, of all things human and all things superhuman, of all true manifestations of the head, of the heart, of the soul, that the life is recognizable in its expression, that form ever follows function. This is the law.
Louis H. Sullivan (1896). „The Tall Office Building Artistically Considered“. In: Lippincott’s Magazine (March 1896): 403–409.
12.04.2017 – 14.05.2017, OPENING 11.04.2017, 19h
I’m describing this image from memory. He is lying face down on the table with his arms straight by his side and his palms turned to the ceiling in an uncomfortable seeming twist. He looks festive in black silk pajamas. His face has been turned to the camera with his eyes closed, looking almost as if he has been laid out for a wake on his dining table and crudely flipped over. His body divides the image in half. Disregarding the horizontal pose he was photographed in portrait format, forcing the interior to become part of the scene. The corner of the room is windowless and entirely clad in dark brown wood, barely lit by a brass chandelier and some sconces. Scattered behind his body on the large table are the remnants of a meal, trash piled on an empty plate and some glasses and cups. There are several jumbled dark blue chairs around him. The image is bare of any indicators of time. On the wall behind the table is a credenza with some decorative objects. Between two identical Greek-style vases stand a collectible plate that features a large Playboy bunny logo in gold and two bottles of Playboy water. Above it, partly overlapped, hangs a small Jackson Pollock painting in a lavish frame (a copy of an original sold at auction many years ago). Interrupting this altar-like setup is a black handbag bursting open with a white plastic bag popping out. Other than him there is no one else in the photograph.
26.10.2016 – 12.02.2017, OPENING 25.10.2016, 19h
baroque tried T2 to say „a wor(ld where all opposites
would harmoniously possible „R 1
:::it seems that worl)d going crayzy but may bee it was R4 always crayzy T2 .
seems people want to all-way keal ich other AQ#3
Y7 but maybe we see only the R1 extreme XYZ.
but ABC ther IS big amount of people U* in the middel ground G.
lets hope middle ground kan keep grounding OK
21.09.2016 – 18.10.2016, OPENING 20.09.2016, 19h
summer group show – PRETTY & AMBITIOUS
Curated by Franz Hempel
ART N MORE (Paul BOWLER & Georg WEIßBACH)
„Man will wissen, daß dieser treffliche Mann seine Kunstschätze sämtlich nebst geräumigen Local und ansehnlichen Capitalien, dem gemeinsamen Nutzen gewidmet habe, wodurch denn freilich Kunstfreunde und Kunstsinn hier für ewige Zeiten die gewisseste Anregung und die sicherste Bildung hoffen können.“
Johann Wolfgang Goethe 1814/15
24.08.2016 – 11.09.2016, OPENING 23.08.2016, 19h
Artun Alaska Arasli
POEM CONSISTING ENTIRELY OF ADVICE
you must not look at what may be a man or
may be his empty car what if he asks you what
are you looking at what if you still do not know
03.08.2016 – 21.08.2016, OPENING 02.08.2016, 19h
Daniele Kneip Velescu
„I´m totally unconcerned with skirt lengths. They are not the issue. […] Life isn´t pretty. Clothes can´t be pretty little things. They must be bold… strong, we have to take this terrible world and make fun of it with fun clothes, functional clothes.“
Gernreich, Rudi, in: Women´s World, Los Angeles Examiner, Los Angeles, 1966
06.07.2016 – 02.08.2016, OPENING 05.07.2016, 19h
Othmar Farré & Andreas Kalbermatter
human error 2
16.03.2016 – 24.04.2016, OPENING 15.03.2016, 19h
Edith Deyerling & Simone Junker
Aber keine Ahnung
10.02.2016 – 13.03.2016, OPENING 09.02.2016, 19h
The screen is not a frame but a hideout; the man or woman
who emerges from it continues living: a „blind field“ constantly doubles our partial vision.
-La Chambre Claire Roland Barthes 1980-.
04.11.2015 – 06.12.2015, OPENING 03.11.2015, 19h
He asked whether components produced in thirty different countries, when assembled into a computer by Samsung, constitute production.
That is not production, but design, he replied.
I don´t see any labourers at work.
The assembly is taken care of by robots, he added.
And what are we to make of the finger flicks with which the cancer-plagued head of Apple, Steve Jobs made his touch-screen models so successful – is that not also design?
No, he responded.
The products are the fingertips themselves and the „handiness“, he added.
Something like that enters into the world as a need because in everyday life there are no worry stones to hold in your hand and certainly little if any sensuouness.
The lack is the producer himself.
Excerpt from: Joseph Vogl in conversation with Claudius Seidl
26.08.2015 – 27.09.2015, OPENING 25.08.2015, 19h
Statistisches Bundesamt, Fachserie 12, Reihe 4 / Andrea
Im Jahr 2011 verstarben in Deutschland 852,328 Personen. Damit sank die Zahl der Gestorbenen gegenüber dem Vorjahr leicht um 0,7 %.
Die häufigste Todesursache war auch im Jahr 2011 eine Erkrankung des Kreislaufsystems (Kapitel IX). Obwohl sich hier ein leichter Rückgang abzeichnet betrug deren Anteil an den gesamten Todesursachen immer noch 40,2 %. Bei über einem Viertel der Sterbefälle (26,8 %) wurde eine Neubildung (Kapitel II) als Todesursache festgestellt. Krankheiten des Atmungssystems (Kapitel X) waren bei 7,0 % und Krankheiten des Verdauungssystems (Kapitel XI) bei 4,8 % der Gestorbenen die Todesursache. 3,9% aller Verstorbenen erlagen im Jahr 2011 einer nicht natürliche Todesursache (Kapitel XIX Verletzungen und Vergiftungen und bestimmte andere Folgen äußerer Ursachen.
Statistisches Bundesamt, Wiesbaden 2014
15.07.2015 – 16.08.2015, OPENING 14.07.2015, 19h
Muscle Crystal Glamourcon
Don’t wanna wait til tomorrow, why put it off another day? One more walk through problems, built up, and stand in our way, ah, one step ahead, one step behind me, now you gotta run to get even, make future plans, don’t dream about yesterday, hey, c’mon turn, turn this thing around, right now, hey, it’s your tomorrow, right now, c’mon, it’s everything, right now, catch a magic moment, do it, right here and now, it means everything, miss the beat, you lose the rhythm, and nothing falls into place, no, only missed by a fraction, slipped a little off your pace, oh, the more things you get, the more you want, just trade in one for the other, workin so hard, to make it easier, whoa, got to turn, c’mon turn this thing around, right now, hey, it’s your tomorrow, right now, c’mon, it’s everything, right now, catch that magic moment, do it, right here and now, it means everything, it’s enlightened me, right now, what are you waitin for? Oh, yeah, right now, right now, hey, it’s your tomorrow, right now, c’mon, it’s everything, right now, catch that magic moment, and do it right, right now, right now, oh, right now, it’s what’s happening? Right here and now, right now, it’s right now, oh, tell me, what are you waiting for, turn this thing around.
„Right Now“, Van Halen, Crystal Pepsi Super Bowl commercial 1993
17.06.2015 – 05.07.2015, OPENING 16.06.2015, 19h
God Only Knows
“I stopped about six feet from the creature and he didn’t look as bad close up as he did at a distance. His eyes seemed to be kind and gentle and his funny face,
as it was, had a sort of peacefulness about it. But even so, you can’t always tell
.We stood there looking at one another. The both of us understood there was no use talking. We just stood and sized one another up.
Then the creature took a couple of steps and reached out a hand that was more like a claw than a hand. He took my hand in his and tugged for me to come.
There were just two things to do – either snatch my hand away or go.
I went.” – Cilfford D Simak
18.03.2015 – 19.04.2015, OPENING 17.03.2015
Barbecued Socially Sanctioned Immortality Projects (Part One)
When I came towards nineteen years of age, I being upon business at a fair, one of my cousins, whose name was Bradford, being a professor* and having another professor with him, came to me and asked me to drink part of a jug of beer with them, and I, being thirsty,
went in with them, for I loved any that had a sense of good, or did seek after the lord. And when we had drunk a glass apiece, they began to drink healths and called for more drink, agreeing together that he that would not drink should pay all. I was grieved that any that made profession of religion should offer to do so. They grieved me very much, having never had such a thing put to me before by any sort of people, wherefore I rose up to be gone, and putting my hand into my pocket, I took out a groat and laid it down upon the table before them and said, „if it be so, I’ll leave you“. So I went away, and when I had done my business I had to do, I returned home………….
* one who professes religion
Extract from George Fox’s journal 1643
09.02.2015 – 16.03.2015, OPENING 10.02.2015
12.11.2014 – 08.02.2015, OPENING 11.11.2014 19:00h
„PAUL SCHOLES (A design for life)“
For The Tip Buckley exhibits just one site-responsive work entitled: ‘PAUL SCHOLES (A design for life)’ (2014). His characteristically playful approach to the commission sees the surface of the vitrine itself being used as the arena for display, rather than the space which its existence encapsulates (and which has been left conspicuously empty). The work consists of the three opening sentences from the Wikipedia summery of Roald Dahl’s ‘The Twits’ (1979) being applied to the glass of the vitrine in vinyl lettering. The title of the work makes reference to Manchester United’s iconic ex-midfielder, Paul Scholes, who, rumor has it, keeps around 40 – 50 animals in his home at any one time.
Although visually somewhat different from many recent works, like all that Buckley produces, this is a work that is designed to activate a complex critical agenda, provoking considerations around the power/inadequacy of art and authorship (his own work included) within the terrain of culture and politics, and the nihilism of trying to find an equivalence of things balanced against a plea for an ethical discrimination between things. It is an approach to creation that is difficult as it is accessible, that is as important as it is irreverent.
28.09. – 10.11.2014, OPENING: 27.09.2014 19:00h
„it belongs to no one“
all the possibilities of the lack of information
It belongs to no one is conceived as one whole piece in the form of a small exhibition derived from a collection of the artist’s personal artworks. Individual works have different approaches and meanings based on various subjects that the artist has been tackling, ranging from the political to the personal. At the same time, on a deeper level, the works discreetly connect particular people and specific events with which the artist has been involved.
It belongs to no one also a part of the ongoing project, “All the possibilities of the lack of information” which itself is based on the basic idea of engaging with missing information. Even if the exhibition itself is fully described, there will always be something missing, or always something distracting. For example, Last year I was at an art opening. It was a sunny day, and the day was long enough and never got dark even after I had my first drink. And after the seventh drink, everything still felt the same. I asked myself how many beers I had had so far. The answer was so simple, but it took time to figure, and I did not have much time as I was busy drinking. I can still remember it as if it was yesterday. Somebody turned to me and said ‘It was yesterday!’
18.06. – 07.09.2014, OPENING: 17.06.2014 19:00h
Oppenheimer Landstraße 85H
60596 Frankfurt am Main, Germany