(*) 1977 | |

Mitsprache reden wir nicht (Sprechkonzert)

"Mitsprache reden wir nicht" (We don’t speak co-determination) is a volume of spoken pieces, generated from enquiries for Karl-Marx-Stadt’s punk scene at that time tied to questions about hidden things, speechlessness, conditions and opportunities in its own language, a particular language. The imagination, which forms upon the speechlessness especially perceived from the outside, represents the interest in this work of art. Likewise she asks after the terms of historiography and acts as a model for other cities in the former GDR, far beyond the named above epicentres. The eternal provincial backwater, which lacks the articulation?

(*) 1979 | Berlin |

Deutsche Kolonien

Fruit stickers from all over the world are collected on a historical collecting sheet for stamps of the German colonies. On closer examination, it quickly becomes obvious that this is not about finding historical colonial structures in modern times.

However, the practices of modern agriculture, especially in the sector of fruit growing and the associated global trade, show exploitative structures in social and environmental matters. Global agriculture is less about securing human nutrition than about generating profit for single individuals; at the expanse of social structures and future generations.

(*) 1986 | Leipzig/Dresden

Poetische Diagramme (digital print)

The poetic diagrams investigate the text and the area of the picture as a support of information and structure. They deal with the (apparent) contradiction of poetry and logic. Every diagram is specific and shows possible connections of words and their characteristics in the meaning of content and typography. In the context of „Begehungen 2018“, diagrams relating to the place and the exhibited works of art, are in creation.

(*) 1960 | Wien

Der Stümper – Heimwerkerkurse für Gartenfreunde – ein Provisorium

Since Middle European summer houses are only equipped with half-empty adhesion tape rolls, pitted rubber boots and rusted florist’s wire, it is necessary to think out of the box to realize a brilliant idea. That is why improvisation, creativity and thrift are the key figures in teaching the fundamentals of modern self-sufficiency in DIY courses for gardening enthusiasts.

(*) 1984 | Dresden |

Die gelbe Form ("The yellow shape", object)

The shape does not evolve from the sketches but originates in the process of modelmaking. Every added wooden strip reacts to the one before. Within the context of Begehungen, the yellow shape creates a contrast to the idyllic charme of gardening and its landscape. The linear character hints to an urban architectural aesthetic further reinforcing its strange and unfitting quality.

(*) 1990 | Hamburg

Flaggenland (documentary)

Denis is a 9-year-old boy, who lives with his family in a recently renovated semi-detached house in a German suburb. Since a few years he has been collecting flags. Meanwhile he knows the corresponding countries and regions, obtaining competence in this field, which normally surpasses the knowledge of his adult conversation partners.

In their daily lives his family got used to being surrounded by flags. The garage, the garden and the terrace belong to the flag country.

(*) 1971 | Berlin |

„Revolverblüher (Phalaenopsis cwww.ankedeichmann.deelebensis)“ (linocut)

In 1993 I was, once again, drawing plants. To be more precisely: I drew weeds. To my astonishment, I realized, that plants are brilliant sculptors. From this day on, I resigned from my own artistic work and started collecting artworks from plants since… plants are the better sculptors.

Plants work restless and diligent. When it is too cold, too hot or too dry, they go on strike. If they get overwatered, they die. Plants fight against each other for the best places in an exhibition. However, the result is always aesthetic and harmonic.

(*) 1986 | Leipzig |

Insektenkästen (objects from found material in wooden boxes)

Insect collections, a long time popular hobby of the educated middle classes, present in excerpts nature's richness of colour and form. At the same time, they manifest a clear unbalance of power between man and nature. Insects are systematically collected, killed and classified in a taxonomic system. They become cultivated objects. Matthias Garff‘s insect cases quote this cultural practice. They show how strongly our perception of nature is influenced by aesthetic criteria.

(*) 1967 | Berlin/Potsdam |

Layers (Installation)

A derelicted terrain often shows off a special kind of magic. Maybe because it contains different time layers or because it is the temporary result of different forming processes. Claudia Hajek questions how coordinates of a room change if a piece of nature planned and made from human hand is left without any treatment. Which consequences have wind, weather, plants and microorganisms to geometrical arranged forms and structures? Where do the powers of nature create something new?

(*) 1987 | Hildesheim / Berlin |

Der Aufstand der Kleingartensiedlung - Neue Weltordnung (Live-Action-Role-Play, 3 days)

Our research conducted in the allotment holders’ association “Vereinte Kraft” (united strength) approaches the allotment association as a microcosm of Germany. Is the settlement a reflection of the world? How popular are beetroot, wild garlic and Co., and how do the “recreational animals” shape their open spaces?
The collected material frames the concept for a live action role-playing game. Everyone is invited to play it. The roles range from tomato to spade, all the way to the allotment holder himself.
What would the new world order look like depending on the needs of cabbage turnip, herb spiral and co? From daily life to disaster, everything is possible.

(*) 1987 | Leipzig

like blossoms shaken from a tree, thousands of parachutes - white, yellow, red, green and black- floated down on Crete (Videoinstallation)

The installation "like blossoms shaken from a tree, thousands of parachutes - white, yellow, red, green and black - floated down on Crete" deals with the path of the silk that german wehrmacht parachutes were made of - from the silk caterpillar breeding in small gardens to the airborne battle around Crete in 1941 all the way for their reuse there as clothes and handkerchiefs. In the NS propaganda program for breeding of silk caterpillars, controlled by the "Reich Ministry of Aviation", small garden clubs and schools were addressed from the mid-1930s, which should help the elite unit of the paratroopers by breeding of silk caterpillars to fall.

(*) 1980 | Yerevan (Armenien)

Nachalo (DVD Video, 12 min. 20 sec.)

I started working on "Nachalo" video-film as the continuation of my series of Garage-Film project, which started in 2001. From the very beginning when I saw Artavazd Peleshian's "Nachalo" short-film, which was dedicated to the 50th anniversary of the October Revolution, it became clear to me that I need to uncover the creative layers which Peleshian has tried to create as a resistance to the oppressive regime of the Soviet Union. In the first instance I used edited, ready archival segments shot by others, ridding them from narration as much as possible.

(*) 1982 | Amsterdam |

Weißes Rauschen (und andere Privilegien) (Videoinstallation)

Die Videoinstallation, aufgenommen in einem abgelegten Dorf in den schweizer Alpen, umfasst zehn gleichzeitig ablaufende Episoden. Vor unterschiedlichen,  malerischen und friedlichen Hintergründen agiert der Protagonist - der Künstler - sprachlos und gedankenversunken in fiktiven Ausdauerübungen.

(*) 1993 | Leipzig |

Herbarium (Reading), Warum bin ich so traurig, meine Granatapfelblüte? (multimedia reading with Rah Rezaei)

The herbarium is like a garden. It contains the plants’ memories of themselves and of the meadows and woods they were taken from. Herbal is an attempted literary inventory, a cataloging of the organism „garden plot“, of the middle german nature and vegetation and their historical, political and societal excesses.

(*) 1988 / 1987 | Paris/Vienna/Wroclaw | /  

Circulate (Zirkulieren) (Performance)

‘circulate’ is an attempt to embody the permeability of the body with its natural environment. We roll slowly and open our senses as we experience the ground with nearly our complete body surface, smell it and maybe even taste it. However, the rolling also exemplifies an unfulfilled attempt at unifying and mending the separation between humans and their natural environments. Indeed, the pain that can be experienced in our bodies relationship to hard or sharp surfaces reveals our separation.

(*) 1978 | Berlin |

Anesidora (sound installation)

The sound-installation tackles the issue of Anthropodicy (greek: Anthropos=Human and Dicē=Trial) that literally means “justifying Human”. For the purpose of this concept, the term is rejiggered Theodicy and Cosmodicy to Anthropodicy which attempts to justify the goodness of humanity. Inspired by Pandora’s myth and mostly by her other name of Anesidora “she who sends up gifts” (up implying “from below” within the earth) the artwork presents an entrance of a cellar, where all the wars of the world are kept locked and safe inside and only the battle sounds are going to be experienced.

(*) 1964 | Leipzig |

Der 15. Januar 1919 war ein Mittwoch ("January the 15th was a Wednesday", 2017, newspaper print, 32 pages, Lubok Verlag)

What do screened posters of plants have to do with the current tendencies of nationalistically motivated violence? With the work Der 15. Januar 1919 war ein Mittwoch, Ute Richter approaches this question from an artistic perspective, with plant motifs from the herbarium of Rosa Luxemburg.
She was murdered on February 15, 1919, so that “Germany can settle down as quickly as possible” (pamphlet January 1919). Ute Richter approaches the story of the revolutionary by telling the “tale of murder and manslaughter” based on abstracted plant depictions.

Landschaftstransformation ("landscape transformation", sculpture, design, overpainting, sound)

The allotment is an intimate and individual place - almost like a second living room. It tells stories about its owners, it reveals their inner self.

The idea of "landscape transformation" grew in the area of conflict between utopia and reality of the German allotment culture. It creates a dystopian dimension of our garden stereotype. The focus is not to add, but to transform, to enshroud, to overpaint and to re-arrange the found subjects. Concrete dominates green, cold dominates warmth, the artificial dominates the natural. We see a painful caricature, a distorted reality mirror, a dark future vision.

A place with no hope.

A place for a new beginning?

(*) 1981 | Chemnitz |

Kaffeekranz (Installation)

The allotment garden is a scene of contrasts. In between concrete jungles, in intentionally or even unintentionally flourishing oases, the small-minded and the free-minded work side by side. The plot offers a wide range of possibilities ranging from organised to chaotic: the rediscovery of petty bourgeoisie or the resistance to outdated rules.

The installation “Kaffeekranz” (coffee party) addresses this network of obvious or rather seeming opposites. In times between the appeal of pettiness and a nostalgic return to traditional handcraft, lace-making from the Erzgebirge (Ore Mountains) encompasses, as a mental mirror image of the allotment garden, the indispensable meeting point of interpersonal relationships – the coffee table.

(*) 1987 | Düsseldorf / Wuppertal

Postwachstum (paper-mâché, sound)

Die Arbeit Postwachstum lockt mit mit piepen, rascheln und rattern ins Gartenhäuschen. Seltsame Pflanzen haben es erobert. Sie wuchern teils tropfsteinhöhlenartig im Raum, machen das Häuschen nahezu unbetretbar.

(*) 1990 | Weimar / Leipzig |

Trance-Dusche (sound installation)

Inspired by David Tudor's Rainforest IV the work explores the materiality of sound and operates with different modes of sensory perception. With the soundsource above the head an intimate atmosphere is created, leading into a new acoustic space. Close your eyes and the space will become tangible, deeper and wider, in- or maybe transducing a highly individual trip ...

(*) 1981 | Berlin/Leipzig |

Gurkenparadies (Installation)

The installation Gurkenparadies  (“Cucumber Paradise”) draws upon the image of the Chinese Cucumber which became a symbol for over-regulation through the now deposed EU Cucumber Act. This work views the city as such a normed and curated cucumber, with the periphery portrayed as a crooked, independent cucumber beyond all rules and standardizations: proactive and home-grown, expressing a sense of laissez-faire and urban sprawl.

(*) 1986 | Berlin |

Heilige Kolonien ("Holy colonies", video installation)

In the context of the European crisis of identity it is worth taking a look at the own front garden. Next to herbs and flowers garden gnomes are often to be seen. At a closer look the Begehungen visitor is surprised to see not the regular gnome, but beings from exotic faraway places.
In my video installation I want to swap the well-known image of the garden gnome in Germany with that of the secular saints of Latin America, relocating them to the allotment garden of Chemnitz.