Das Konvolut











/ Jan Philip Binder

Alltag - 2019

Jan Philip Binder (Oberhausen, Germany, 1993) lives in Essen where he works under the name “0(æ)”. He’s known for his stickers, posters and cardboards which can be found all around the rural area. The motives seen on these different mediums are mostly influenced by recurring symbols of his. Jan combines typical symbols which then transform into something unknown but still remain familiar. His graphic-like works come from an impulsive behaviour and the confrontation with oneself is the main focus. Similar to the viewer, Jan interprets his work only after the finished result: “Even I don’t understand most of the things I draw and I often only find some kind of understanding after a few weeks time.” / Art should inspire and be accessible for all kinds of people to enjoy and have fun with. Especially people from the street are at the center of his attention, who usually don’t visit art galleries or museums: “If we only focus on traditional visitors then the whole scene will remain an elite and there’ll be less newcomers.” Since 2018, Jan has worked on connecting the traditional Art-World with the Street Art-Scene which resulted into him creating the Art-Performance Event called “P0P_Up!”, formerly known as ArtOverdose. His latest event from 2019 is called “Markerjam” which he continuously hosts in various locations in Essen.





/ Tim Cierpiszewski

Archive - 2019

Tim Cierpiszewski who after studying philosophy, studied fine art at the Münster Art Academy with Maik and Dirk Löbbert and at the Düsseldorf Art Academy with Martin Gostner and who finished his studies at the Münster Academy in 2009, explores the potential of architecture, apart from statics and construction requirements. His artistic interest is focused on the architecture surrounding art. On the one hand, this acts as a starting point for display-related works and thus not only refers to the architecturalcontext, but also actively includes it, so to speak, in the artistic process. By including irregularities and disruptive elements in the work, Cierpiszewski literally works his way away from the specifics of the exhibition space and creates differences in the latter, an expanded architectural approach, a material rethinking of the exhibition display. For some time now, the artist has been supplementing his actual work of space and architecture by involving other spaces or other spatial concepts. For example, he takes into account our collective social (image) awareness, the virtual space of the Internet, and uses a wide variety of image downloads as the basis for various image samples and remixes, in order to combine them with the specific exhibition architecture. Complex entanglements are created between the shape and content of the building, the omnipresent Internet and wall designs, which are presented in surprising installative contexts.





/ Luise Flügge

Selfportrait - 2019

In this portrait I present myself to the audience from five different angles in classical light set up. One of the elements that divide photography and painting from each other is the notion of time. Whereas classical portraiture was focused on presenting a person in one manner, photography can present a person from multiple perspectives. Subject and camera are moving constantly, observing, looking from a distance, getting closer... In this series of photos I direct the camera towards myself as if I am trying to recognize my own features hair, wrinkles, freckles and imperfections. I look at me relentlessly and I am beeing looked at relentlessly. / Luise Flügge (*1995) graduated in the bachelor of arts photography at Folkwang University of Arts in 2019 and studies in the post-graduate Program at Academy of Media Arts Cologne since October 2019. In June 2018 she got awarded with Folkwang Preis for her work „Zwischenformen“. She is based in Cologne.





/ Max Füllbier

Parameter - 2020





/ Hendrik Hinkelmann

Ohne Titel - 2020

Hendrik Hinkelmann attempts to question common practices of the public sphere in the field of visual culture. He draws on a personal database of smartphone images and processes them within a photoshop-based, open, associative approach, working against the homogenization of visual culture through computer-generated images, digital filters and other image manipulation methods. This results in new types of images that cannot be understood in terms of existing photographic aesthetic categories. Images that tend to represent rather than replicate themselves. Influenced by billboards, light boxes, printed vehicles and banners, he tries to refer to these industrially functional images, which, due to their omnipresence, partly characterized by huge displays, are decisively formative for his handling of smartphone photographs. Essential for his work is the presence of this working process. Structures and forms that arise at the moment of contact lead to new associations and allow the image to emerge anew again and again within a usually short creative process.





/ Marvin Hoffmann

Order & Accident - 2019

I like to experiment with aleatoric painting-methods: rough spraypaint-staints, décalcomanias with different paint-mixtures. These organic forms are often set against structures that suggest order, repetition and all-over-characteristics. E.g. on the first layer of this piece there's a linocut which consists of many parallel lines that form a repetitive texture. These repetitive forms seem flat, whereas the dark areas of the décalcomania seems to open the depth of the composition. The black, repetitive airbrush-lines seem to connect these two areas.





/ Tomoya Imamura

Speech - 2019

Tomoya Imamura (*1991 in Duisburg) is a Hungarian-Japanese photographer and designer from Germany. His work combines a documentary approach with staged imagery, mostly around the topic of ideology and the right-wing movement in Europe.

/ Luca Korthals

Maer - 2019

My work is as multicoloured as my interests in art, technology and gaming. While I grow as a human being, I explore many different styles of expressing myself. This work is, for example, a dive into the possibilitys of rethinking fantasy design, game design and concept art.





/ Anna Traskaliková

To Display - 2019

In the works, the display is staged as a physical, analog location of software-bound, digital design processes. The relationship between designer and tool, the design and the possible sculptural and auratic properties of the display itself are questioned.





/ Jörn Vanselow

Superspreader - 2020

When I started photographing the area of a former tar factory more than two years ago, the world had no idea about Covid-19, nor did I know that the area that nature had slowly reclaimed would soon be put to economic use again. Only a few months after my first visit, large machines were levelling the area and ending the tentative growth of little plants close to the ground and small bushes. A large retail company would build a new logistics centre there, the newspaper reported. Food from all over the world would be delivered, divided up and sent on to the supermarkets in the region. Mangoes from Peru, grapes from India, strawberries from Chile, sunflower seeds from China - everything is always and everywhere available in unleashed capitalism. 'The customers want it that way', the bosses say and run the next advertising campaign: 'Always fresh on the table!