Installation view, Istituto Svizzero di Roma, 2017 (photographed by Simon d'Exéa.)
Framed inkjet prints, 42cm x 32cm.
Installation view, Studioli, Rome, 2017
Exhibition views, L'UOMO VAGUE at kim?, Riga, 2016. Photography by Ansis Starks.
A series of photographs of a hand holding a wine-glass with digital finger-marks.
Digital silver gelatin prints, 50cm x 34.66cm
Drinking a Burgunder and eating chips on the roof-top of the Hôtel Raphael in Paris at sunset, looking at passing airplanes and thinking about where to wipe your fingers whilst trying to look serious.
Or maybe this is in the “Bord-Bistro” on a train, towards the end of the night, on the way from one castle to another, somewhere deep in the Swabian hinterlands.
Unless it is Saturday afternoon and you are on the terrace of the Kleinmarkthalle in Frankfurt, squeezing through groups of annoyingly cheerful wine-enthusiasts in Vichy-patterned shirts and cable-knit sweaters.
It could also be that you are standing on the set of some “camp-noir” musical, stroking your champagne chin and attempting not to fall flat on your face on some faux-marble, or maybe into a trap of hyperurbanism, whilst trying much too hard to do everything correctly and impress with your knowledge of the rules."
“Anybody with their nose pressed against a glass is liable to look stupid”.
(Truman Capote, “Breakfast at Tiffany’s”)
Haute Collaboration - Edition Concorde, 2015
Indigo ink and printed text on vintage Smythson stationary for Concorde
Seven cards and envelopes, mounted and framed, 23cm x 29cm, original box, assorted objects
"Haute Collaboration - Edition Concorde", Rome 2015
Haute Collaboration, 2012
Ink and silkscreen on paper, 30cm x 40cm
“H a u t e C o l l a b o r a t i o n – when looking up this term in Google, the search results mostly tend to point to the world of fashion – a collaboration between a house and a designer, for example. I have, however, taken it from Ernst Jünger’s “Paris Diaries”, where it rather refers, I think, to the practice of collaborationism. It is precisely this usage that invariably springs to mind everytime I hear the word “collaboration” in an artistic discourse – nothing against joint work, but it is one of the two most uninviting words there is. The other word is “project”. The sound of it alone is terrible enough. It is quite unacceptable.
In a very beautiful video from the late 80’s one can see Helmut Berger interviewing himself, in French. The first Helmut Berger – the interviewer – asks the other Berger: „Tu as des projets?” To which Berger the interviewee replies with some level of indignation: “Des projets, non. Je n’ai jamais de projets. (...) En tout cas, je ne suis pas un industriel. Je suis un artiste.”
Another reference point could maybe be something like Gossip Girl, in a schoolyard-politics kind of way (who sits together with whom etc.)
Regarding the hanging: there are nowadays ubiquitous tendencies to introduce small breaks and playful elements into the arrangements. It is considered bon ton, to the point that it often becomes a means onto itself. I have, on the other hand, decided that this presentation should be rather hardline – all such tendencies towards breaks and openings must accordingly be supressed. Everything that steps out of line must cut down. A “rappel à l’ordre”. A small exercise in self-control.
P.S. Situation – a direct free-kick in a football match. The players form a defensive wall. The public applauds rhythmically, with every clap the wall takes a step back."
Frankfurt am Main, 2012
“It’s A Beautiful Day for Haute Tra(s)hison”
Two ink drawings and a text as a contribution to Provence magazine issue E (2012)
"French Birds Love Pain" (with Anna Zacharoff) Flûte Douce, Frankfurt am Main, 2011