Rundgang 2021 // Class Bonvicini // 29.-31.10.2021




We are happy to announce and invite you to our exhibition within the analog UdK Rundgang in rooms 91/92/95a at Hardenbergstraße 33, 10623 Berlin

Opening times: Fr 10 - 24 Uhr, Sa 10 - 22 Uhr, So 10 - 21 Uhr // please regard the 3G-status

On DISPLAY: individual works by the students of Class Bonvicini as well as documents and further reflections from the previous semester projects DRINNEN ROSA DRAUßEN PINK and FALLING.






With works by:


Nilam Ali

Title: o.T. /// Material: Pappe, MDF-Platte, Fotografien, Smartphone, Kopfhörer, 1 Min, Sound /// 2,45m x 1,40m /// Year: 2021


Sana Al Kurdi

Title: Untitled /// Video sound installation /// Year: 2021

Reem Awad

Work 1 // Titel: P|b /// Material: Canvas, Paper, Acryl /// 120x160 /// Year: 2021

Work 2 /// Title: golden anonymous /// Material: A crystal, 24k Gold /// H 16,5 x B 34,5 x T 51 cm /// Year: 2020

Work 3 /// Title: 4Füße /// Material: Gips, Barbed wire, Gold /// H 95 x B 16,5 t 4,5 cm /// Year: 2020

Seunghoon Baek

Titel: Reflektion /// videoinstallation, 12min loop, 39zoll Monitor


In der Serie "Reflektion" werden die variablen, unabsehbaren und vielschichtigen virtuellen Raumes durch den Monitor die Ausstellungsraum erweitert, verknüpft und zerlegt. Das großen und kleinen Ereignisse und die Spannungen, die zwischen dem Raum des Werkes und dem Betrachter entstehen, verbinden und erweitern das physische und virtuelle Gefühl des Werkes.


Contact: www.seunghoonbaek.com

Lena Braatz

Title: THE (DIS)COMFORT YOU GIVE ME /// Material: Mixed materials (cotton, wool, pvc, polyester, linen, jute) /// 3m x 1,60m /// Year: 2021


Contact: instagram @lenipowers

Kim Bode (Graduation Work)

Title: those that slip among molecules /// Material: speakers, computer, arduino, electrodes, wiring, fieldrecordings, insects, asphodel albus, kiwano, brick dust, metal, ceramics, wood, soil, foil

The installation those that slip among molecules uses a description of a specific location deriving from Greek my- thology in combination with fictional entities occupying the actual place of the installation.

The asphodel meadows, known from Homer‘s Odyssey, describe a place in the underworld, where ordinary or indifferent souls who did not commit any significant crimes, but who also did not achieve any greatness dwell. The character of this imaginary landscape is intertwined with field record- ings, bridging artificial and “natural” environments and thereby challenging the romanticized image of the natural world while bringing queer-ecologies to the fore.

The visitor is invited to linger, move and change the envi- ronment through their steps.


Contact: www.kimbode.com /// info@kimbode.com /// instagram: @kim.bbbode

Miriam Döring

Work 1 /// Title: STILL RESTRAINING /// Material: Bended steel, casted silicone rubber /// ca. 130 x 140 x 15 cm (variable) /// Year: 2021

STILL RESTRAINING investigates into a state between holding and falling and the effort it takes to keep up both.

Bodies are present in the objects which are brought together: a bended steel bar reminding to a barbell and the muscular strain it causes is entangled with a resistance band to be used for physical exercises in order to stretch the inner-bodily cords or leaning on and lifting one's own body weight.

By provoking a feeling of exhaustion one starts to questions what to maintain for, what to let go?


Work 2 /// Title: IAIMNOT / "everytime I'm getting close (just too ambitious)“ /// Material: Casted Urethane-Foam, 80 x 80 x 1,5 cm /// Year: 2021

IAIMNOT / "everytime I'm getting close (just too ambitious)" is part of an ongoing research about the iconic language of gamification. Through the application of competitive psychology, ambition and (self-)determination are steadily infiltrating all processes and spheres.

The symbolic target refers to this given imperative of achievement and performance as much as the concentric circles do to self-care practices and their increasing commercialization. Immersing in black, the object questions both tendencies - and eventually negates.

Work 3 (shown in R.62/ ceramic workshop) /// Title: dis-channeled /// constellation of objects and images /// Material: glazed ceramics, bended steel, aluminium, wax, pvc hose, inkjet-print, charcoal on paper /// Dimensions variable /// Year:

2021

Contact: mrmdrng@gmail.com

Louisa Frauenheim

Work 1 /// Title: A fallen sculpture /// Year: 2021 /// 15 min. video


Last year I worked continuously on a sculpture. It consisted of broken porcelain pieces of different plates, cups, saucers, etc., which I collected last year. I could not stop working on it, -almost obsessively I worked on it further and further, which is probably also due to the pandemic.

But I became more and more unsatisfied with the sculpture. Neither formally, nor contentwise I could tell through it what I wanted to say. I decided to take the sculpture with me on vacation to the Atlantic coast in France. In the video I show how I went to the beach with the sculpture. It was about 15-20 kilos, so it was very tiring to walk with it. It was a weird feeling. Because of the shape, it felt a bit like I was showing a dead person in an urn the sea for the last time. In the about 15 minute video I show how I was looking for a good place for the sculpture. Placed next to a former German bunker from the 2nd World War -in the meantime sprayed with graffiti I recognize parallels: the strange, literally fallen architecture -they once stood on the cliff-, the past, the incomprehensible, the ugly, the ridiculous, the small in the big.

Later I bathed the sculpture in the sea, there it very quickly collapses. At the end there is only a pile of broken pieces. Has my sculpture failed?

Work 2 /// Title: Blutansammlung außerhalb der Blutbahn in den Weichteilen /// Year: 2020 /// Material: Photo of the construction site of my grandmother's house from 1958, a shade of my hematoma on my belly during pregnancy, building plan350 cm x 240 cm


Work 3 /// Titel: Falscher Hase, 25x20x50 cm /// Material: pieces of my family's porcelain, wax, montage glue /// Year: 2021

Work 4 /// Title: ich bleibe unten /// Material: Wood, plaster, paper, the, the image of the railing from my grandmother's house in my head /// Year: 2020

Work 5 (shown U-Bhf Friedrichstraße) /// Title: forget who you are /// 10 sec. Video /// 10-sekunden

Contact: l.frauenheim@gmx.de /// instagram: @louisa_frauenheim

Jolyon Jones

Title: rapid loading /// Material: concrete, electrical cable, found locket /// Year: 2021

Bailey Keogh

Title: Air Regularly /// Material: Oil and acrylic on canvas /// Year: 2021

Francis Kussatz

Title: Zwischen Santiago und Berlin /// Material/format: Video /// Size/Length: 13:49 min /// Year: 2021


In the work "Zwischen Santiago und Berlin" a space is opened that reveals intersections, obstacles and differences in the process of one's own, different queer identities.

What does it mean to be queer, to be not queer? Who is allowed to love openly, not be loved? Why am I afraid, do I feel the fear of others?

These are just excerpts of two biographies that cannot represent an entire community. Here, the viewers are invited to listen in an intimate moment that goes hand in hand with relief and pain, an invitation to put oneself in the middle of it. As a supporting, sustaining or perhaps even crying force - of one's own coming out or not coming out.

Contact: francis.kussatz@protonmail.com /// Instagram: @franciskussatz

Jay Lee (Graduation Work @Kühlhaus Berlin it’s only the end)

Title: Don’t panic /// Year: 2021


Maria Martini

Work 1 /// Title: royal canin mini puppy /// Material: Lack, Holz, 65 x 45 x 55 /// Year: 2021


Work 2 /// Title: untitled /// Material: Lack, feuchter Ton /// Year: 2021

Johanna Michel (Graduation Work @Kühlhaus Berlin it’s only the end)

Title: Mediterranes Haus mit Meer im Hintergrund /// installation, dimensions variable /// Material: MDF, varnished, potted plants, generative model (GAN) (remoteness, insularity, difficult topography), silkscreen print on paper /// Year:2021

Inspired by various Zoom meetings, Johanna Käthe Michel is interested in the generic virtual backgrounds that users can select when their own four walls are not to be shared with all other meeting participants. What does it mean when the professional spreads to the private during the still ongoing home office phase? The artist recreated various backgrounds from the „office“ category and arranged them with plants from the UdK working spaces - where they were left behind in the last months. Johanna Käthe Michel reactivates an unused, abandoned space.

Text by Louisa Behr, gallerytalk (translated by machines and the artist)

Shin Oh Nam

Work 1 /// Title: 1.POST-IT: IUSEDTOPRAYWHENISEESUCHAHUGHESCULPTURE. /// Material: Unframed exposure print on paper /// Year: 2019

Title: 2.POST-IT:IUSEDTOPRAYWHENISEEPLANETS /// Material: Unframed exposure print on paper /// Year: 2021


Work 2 /// Title: #1 A-10092020 Debris_Seagram building : I decided to collect my grandeur buildings but still don’t know how should I combine these part /// Material :Self polished steel, Steel, Surface protect industry paint /// Year: 2021


The shape came from a combination of the Seagram building(Which is still a symbolic and Iconic High rise building but at the same time lost its pure meaning) and artificial space objects. This work alludes to the uncanny debris of an artificial space building and transports it somewhere else. It is debris, but at the same time, it still looks beautiful and sublime. This, which has fallen from a huge structure, never functions properly anymore.reminiscent of spoils, something which is castrated/eliminated from its own symbolism. High-rise buildings and space artificial objects have the same meaning of wish, but at the same time have opposite points (Antipodes). Architecture deals with the known limits, but space deals with the unknown limits. The shiny surface that looks like stainless steel is actually common steel that will one day rust. We can still see ourselves distorted on the shiny surface of Metal. People see themselves staring at them from the reflection of artworks. This intensifies the reminder of our imperfect appearance. This evokes us not only to the sublime of the space, which has no limits and can face our existence, but also to the mystery, joy(delight), and at the same time anxiety and emptiness/vanity. Mies Van Der Rohe also used shiny chrome in public living spaces. Spaces where we are facing the others. The artist brought this out into real public space. The building's I-beam is installed completely separately on the exterior of the building. It defines outer space. In other words, it copes/against with other people's ‘gazing’. Additionally, the I-beam was installed for making the building look higher. However, it was already sufficiently vertically high at that time.

Title: #2 A-12122020 Debris_ Scaffold graph of disquiet desire: I decided to collect my destroyed scaffold but still don’t know how should I combine these part /// Material : Self polished steel tube, Steel, Aluminium, Speaker, Cable /// Sound : Recorded sounds of AI-Human voice(the book of disquiet by Fernando Pessoa), Signal communication /// Year: 2021

The artist transformed Lacan's basic section of the Graph of desire and modified it into a new type of graph. The artist adds disquiet to the graph which is depicting human beings becoming fragmentized by language, showing us that they are already fragmentized by disquiet before they are reborn as social beings through language. Sentences excerpted from ‘the book of disquiet’ by Fernando Pessoa repeatedly play from speakers that are arranged on the left and right. The shiny curved iron tube, which symbolizes the vector of language, loses its function and retains only its symbolism like the relic of a holy shrine. The speakers connected to the two torn iron tubes that signify the vector of subjectivity loses its function, but constantly trying to communicate with itself about disquiet. This connotes a kind of motivation and surrounding possibility of survival. We were not alienated as a result of linguisticization, but initially by anxiety. In addition, it implies that language is an affected and desire is born from absence. So too does the social relationship implicate the becoming of a fragmentized subject.

Title: #3 A-15032021 Debris_Dom-ino column : I decided to collect my souvenir buildings but still don’t know how should I combine these part /// Material :Self polished steel reinforcing bar, Concrete /// Year: 2021

Viktor Petrov (Graduation Work)

Work 1 (shown in the entrance hall of Udk) /// Title: Gazing at the Glazing /// Year: 2021

Die Rauminstallation Gazing at the Glazing besteht aus 60 handelsüblichen Riot-Schildern, wie sie weltweit von polizeilichen Behörden zur Kontrolle von Menschenmassen verwendet werden. Kreuzförmige Edelstahlhalterungen, die durch Edelstahlseile miteinander verknüpft sind, verbinden die einzelnen Schilder zu einem monumentalen Fassaden-Fragment. Bedingt durch das eigene Gewicht, scheint die flächige Konstruktion sich zu entfalten und gleichwohl im Begriff zu kollabieren.

Gazing at the Glazing bewegt sich zwischen Architektur und Skulptur, indem es funktionale und autonome Momente beider Kategorien zusammenführt. Die Konstruktionsweise ist einer rahmenlosen Glasvorhangfassade entlehnt, wie sie 1986 erstmalig für das Cite des Sciences et de l´Industrie von Adrien Feinsilber und RFR in Paris entworfen wurde. Das Technische Museum ist jedoch nicht bloß Bauwerk und bildet als solches einen technologischen Höhepunkt in der Errichtung von Glasfassaden; es ist auch Bauteil des politischen Programms Grands Projets von François Mitterrand. In dieser Hinsicht ist das Gebäude ein Ideengeber institutioneller Architektur. Das CDU-Gebäude oder das Marie-Elisabeth-Lüders-Haus in Berlin reihen sich diesem an und sind Beispiele für die politische Dimension von transparenter Architektur und ihre repräsentative Bedeutung.

Die Umsetzung des Projektes erfolgte mit der externen Unterstützung von Prof. Dipl.-Ing. Architekten Carsten Wiewiorra, der mich bautechnisch begleitet und fachspezifisch beraten hat. Durch die Zusammenarbeit haben sich funktionale und formale Aspekte der Arbeit enger verkettet, um diese schließlich ihrer Form nach als Teil des architektonischen Kanons lesbar zu machen. Doch was macht Architektur zu Architektur und woraus besteht ihr Vokabular?

Laut der Analyse von Andrea Kahn „the idea in a vital strain of postmodern design [is] that architecture should look like architecture”.In ihrem Essay „The Invisible Mask“ kritisiert sie die moderne Kultur für ihre explizite Beschäftigung mit dem Sichtbaren und ihr Ignoranz gegenüber der tieferen politischen Natur von Architektur: die Disziplinierung von Raum1. Gazing at the glazing spielt mit dieser Kritik und unterwandert das architektonische Objekt durch Mimese. Es spricht in seiner Formsprache und entzieht ihm zugleich die wichtigsten architektonischen Funktionen: Stabilität und Schutz. Im Prozess des Kollaps wird die Grenze zwischen Innen und Außen, Privaten und Öffentlichen Raum, die an Architektur “unlösbar gebunden bleibt”2 aufgehoben. Die Dekonstruktion architektonischer Praxis ist gleichermaßen eine Kritik an ihrer repressiven Funktion und eine künstlerische Strategie sie über ihre Repräsentationstechnik hinaus zu denken.


Work 2 /// Title: Weak spots /// Year: 2021


Weak spots ist eine siebenteilige Installation, die aus industriell hergestellten Objekten und Materialien besteht, welche zu architektonischen Körpern zusammengefügt werden. Dabei werden Schwachstellen und widersprüchliche Eigenschaften – hart und weich, wertvoll und billig, glatt und porös – aufpoliert und hervorgehoben. Versehen mit Löchern und Dellen offenbart der in einzelne Teile durchtrennte Lichtmast etwa ungeschönt Spuren seiner eigentlichen Nutzung.

Die einzelnen Skulpturen spielen mit der Ästhetik von Glätte und Glanz, die im medizinischen Bereich der Notwendigkeit einer sterilen Umgebung folgt. Die Art von Ästhetisierung und Sterilisierung findet zunehmend im urbanen Raum statt und entzieht diesem seine Vitalität. So wie Tauben auf einem Abwehrsystem aus halbrunden Kunststoffrohren keine Nester bauen können, verhindern Betonspikes am Rande von Gebäuden, dass Menschen dort übernachten. Diese sogenannte „Anti-Architektur“ zielt darauf ab, Missstände wie Schmerz und Armut aus dem Stadtbild zu verdrängen. Es bleiben jedoch Materialspuren wie Schaumstoffmatratzen oder durchgelegene Kartons zurück, die auf die gespenstische Anwesenheit dieser unerwünschten “Störer” hindeuten. Als Schlafunterlagen, oder Bauelemente provisorischer Hütten, bilden diese einen architektonischen Gegensatz zu dem System, das sie zu beseitigen versucht.

F. Scott Fitzgerald eröffnet seinen Essay “Der Knacks” mit dem Satz: “Im Grunde ist alles Leben ein Prozess des Niedergangs”. Doch dies ist kein Plädoyer zur Resignation, sondern (s)einer Lebensgeschichte, die erst durch die Anerkennung einer metaphysischen, unabwendbaren Verletzung geschrieben werden kann. Diese Perspektive auf das Leben ist jedoch unvereinbar mit einem Gesellschaftsbild, wonach Schwäche immer überwunden werden soll und kann. Mit dem Knacks, der dem Leben der Dinge zugrunde liegt, befasst sich auch die japanische Reparaturtechnik Kintsugi. Sie betrachtet ihn als eine positive Erscheinung – kultiviert diese Verletzung gar und betont ihre Bedeutung, indem sie die Reparaturstellen mit Gold überzeichnet.

Das erinnert an das Konzept der “irreparable Wunde” des Architekten Stanley Tigermans und den zwei geschlechtsspezifischen Reaktionen darauf: das “righting” und das “re-writing”. Während es beim “righting” darum gehe, die Wunde zu beheben, alle Spuren von ihr auszulöschen und an ihrer Stelle ein phallisches Gegenteil zu errichten, konstruiere das “re-writing” die Wunde erneut, begegne ihr mit ihrem eigenen Spiegelbild. Weak spots nimmt diese Theorie als Grundlage für die Untersuchung des urbanen Raums, sucht jedoch nach einer eigenen ästhetischen Form als Reaktion auf die Verletzung, die Architektur re-produziert oder zurückweist.

Sonnhild Maria Schietzel

Titel: Group of five objects /// Material & Size: 1 concrete/plaster/ jute 46cm x 17cm 2 plaster/metal stick 98cm x 13 cm 3 fabric/plaster 70cm x 33cm 4 dried graß 60cm x 37cm 5 plaster/steel rope 44cm x 23cm x left over 9cm x 11cm plaster/jute /// Year: 2021

Contact: soma.schie@posteo.de

Anica Seidel

Work 1 /// Title:Disord Material: Expander, Cans, Lacquer /// 49 × 17 × 18 cm /// Year: 2021

Title: Distance /// Material: Shoes, boot chains, leather strap, artificial flower, knife, shooting stars, key ring /// 12 × 40 × 33 cm /// Year: 2021

Title: What do | I get /// Material: Arrow net, shooting stars, artificial flower, rivets, trouser chain, size S /// Year: 2021

The installation consisting of the works Disorder, Distance and What do I get shows (clothing) pieces borrowed from the materials of a fairground. Each element can lead to a fall or serves as an invitation or prompt.

In the work I dealt with motivation, pain as well as power and violence. The titles are inspired by punk songs.

Work 2 /// Title: Sundial /// Material: Glass, crowbar, 60 × 100 × 85 cm /// Year: 2021


Sundial is based on an equatorial sundial, which consists of a one-metre high and one-metre wide glass pane and a crowbar as a pole bar (53°). The work thematises inequality and control.

When exactly does something happen?

Already with the emergence of glass architecture, the destruction of it ran parallel. Hierarchy and value were and are being questioned. Hierarchy and value were and are being questioned. The dysfunctionality of the sundial provokes a different sense of time.)