Künstlerhaus Dortmund
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Ausnahmezustand: 30 years Kuenstlerhaus Dortmund

31 August − 6 October 2013
Opening: Friday, 30 August at 20:00 h
Open Studios: Sat. 31/08 and Sun. 01/09, 14:00 - 19:00h

On the occasion of its 30th anniversary, Kuenstlerhaus Dortmund presents a cross-section of works by the members and artists in the network (K.i.N.). The huge building will be filled with art - from head to toe, from the attic to the deepest cellar: with photography and painting, video and sound, sculpture, object and installation. As the Kuenstlerhaus is usually following the policy of presenting thematic group shows with works by external artists only, the title simply reflects the exception from this rule: Ausnahmezustand (german for state of exception)

Opnening on August 30

Participating artists:

Pat Arnao (K.i.N.), Christoph Bangert (K.i.N.), Patrick Borchers, Jörg Daniel (K.i.N.), Lisa Domin (K.i.N.), Laura Eschweiler, Rosa Fehr-von Ilten (K.i.N.), Anett Frontzek, Etta Gerdes (K.i.N.), Maria Gerdwilker (K.i.N.), Cornelius Grau, Ulrike Harbach, Horst Herz, Barbara Koch, Dagmar Lippok (K.i.N.), Linda Opgen-Rhein (K.i.N.), Willi Otremba, Gaby Peters, Dirk Pleyer, Rona Rangsch, Arno Schidlowski (K.i.N.), M..aria Schleiner, Ulrike Stockhaus (K.i.N.), Jens Sundheim, Elly Valk-Verheijen, Adriane Wachholz, Caspar Walbeck, Ulrich Weber, Denise Winter, Marco Wittkowski (K.i.N.), Hannes Woidich (K.i.N.)

Pat Arnao (K.i.N.)


Pat Arnao investigates memory, identity, the effects of time, and the relationship of nature to the man-made. She looks for tremendous beauty in simple things. In CREEP, Arnao examines the emotional identity attached to man-made materials, and the romantic or seductive quality we give these objects. The material's unlikely ascension reflects our own "born to die" quality, and mirrors the natural movement toward slow deformation and eventual degradation under the influence of stresses over time.

Christoph Bangert (K.i.N.)

"Kindler Still 476", 2006/2013, lambdaprint and wood

The work transfers my painter's attitude into the field of computing. The digitally made pictures base on the painting encyclopaedia “Kindler”. The painters' days of birth and death to geometric co-ordinates, in order to re-present every painter as a specific rectangle, exactly determined by the data collection. The datas do not include those painters, whose date of birth and / date of death were not exactly or not yet known. As a kind of hommage to all painters, Kindler castle in the air 476 (still) suggests to imagine a reverberation of painting.

Patrick Borchers

überzeichnet, 2013, drawing animation in digital frame, 3:33 min, dimensions variable, photo: Jens Sundheim

Jörg Daniel (K.i.N.)

// METAMORPHOSIS NOW // Copyright 2011, Jörg Daniel, photo: Jens Sundheim

// METAMORPHOSIS NOW //is a work about the recent situation of homeless people in Germany. It is a social object consisting of a silk cocoon as a protective room, to spend homeless people a little bit of privacy. In this case the cocoon is more like a tent and stands as synonym for an interim solution in the life of homeless people; a situation at the step to change into the positive (keyword: pupation), tending to settlement and normality. (Jörg Daniel, April 2013)

Lisa Domin (K.i.N.)

Film still "Cowboys", 2011, 16mm digitized, 5:30 min

shortfilm program:
"Fanfit", 2012, 16mm digitized, 2:20 min
"Cowboys", 2011, 16mm digitized, 5:30 min
"o.T.", 2011, 16mm digitized, 1:10 min
"Teppich", 2010, 16 mm digitized, 3:03 min
"Future World", 2012, Super 8 digitized, 3:15 min
"Schwimmerin", 2007, Super 8 digitized, 3:47 min

Laura Eschweiler

shredderstuffextraction, aluminum, rubber, shrinking folia, size: variable,
photo: Jens Sundheim

Shredderstuffextraction is working together with the systems of wind. The power of gradients is the impellent power. Circulating air is the most important locational factor. A too much of matter in the inside is getting shreddered. After that it is distributed generously and dosed in the outside. The size of the sculpture, as well as the order and the placement of the modules are determined by the disposable volume of air, which is getting part of the form by shrinking.

Rosa Fehr-von Ilten (K.i.N.)

Ofenklappe. Lindemannstr. 6, backyard 2013, 110x140 cm, acrylic/canvas

In her work Rosa Fehr confrontates real and  fictive spaces to show the construction of reality creating an alternative view of perception.

Anett Frontzek

Detail of the Installation A DARK TRAVELLER ON THE DEPTHS OF THE NIGHT for BLOWIN' FREE/Emscherkunst.2013

An installation for a 40-foot container. Using the international language of trade relations it might sound like this: “Dry Cargo in FEU. A site-specific installation in a 40 Foot Equivalent Unit, production just in time.” However, art rarely develops just in time or is perfectly standardized. This also applies to the single-cell organisms living in the sea. Together with other microorganisms they start their travel around the world in the ballast water of the container ships. At the end of their involuntary travel the highly specialized organizational forms of life are washed into an alien marine ecological system where they cease to be, settle down or, as invaders, change a whole community.

Etta Gerdes (K.i.N.)

Unlasting landscapes, photography, 60 x 60 cm, 2007 - 2013, edition 5 + 2 AP

Twice a day, the water changes to land and back again. This created a specific landscape, which is in a state of constant change. In this elongated verge, man has managed the land for centuries; now the rising sea level will flood this environment. The ocean is eternal, the land is not.

Maria Gerdwilker (K.i.N.)

"Maria" - wood, acrylic - 64 x 131 x 80 cm

On gracile legs, a skeleton form winds to a roller coaster. Any fair attribute, such as flashing lights or cars, is missing - only the shape as an abstract element remains visible.

Cornelius Grau

Antrich I., wood, canvas, acrylic colour and varnish, 200 x 150 x 305 cm, 2013
, photo: Jens Sundheim

Cornelius Grau`s sculptures made from wood and cotton deal with everyday objects or naive fantasies. The objects have a high recognition value and are recontstructed in colourful lines and surfaces.

Ulrike Harbach

Kokerei Hansa, photography on steel, 150cm x 100cm, 2012

Die Arbeiten von Ulrike Harbach vermitteln außergewöhnliche Erlebnisse analoger Fotografie. Grund dafür ist das eindrucksvolle Wechselspiel des Mediums mit der besonderen Materialität des Bildträgers. In einem aufwändigen fotochemischen Prozess überträgt die Künstlerin Fotografien auf vorbehandelte Metallplatten.
Daraus ergeben sich faszinierende Kontraste zwischen den Strukturen des Untergrunds und den großflächig verfremdeten Schwarz-Weiß-Aufnahmen, deren Wirkung durch die Sepiatönung noch verstärkt wird.

Horst Herz


Shortfilms are presented, excerpts: „STREIFZUG“, „PHOENIX-FLIEGT“, „BE COOL“ and „LOVEPARADE B1“, film collages: „WANDERUNGEN“ (Part 2811-2815), VIDEO: sunville, photo videos: ROAD TO NOWHERE, Bonus: 16mm projections

Barbara Koch

WARTERAUM I / VII. RUBBER SOULS, Installation, max. approx. 600 objects,
ca. 5 - 50 cm diameter, height ca. 5 - 80 cm
, photo: Jens Sundheim

The borders between temptation and poisoning fascinate me. I create tension fields between power and helplessness. I interpret alienation.
In the series of my “Waiting Room”-installations, I produce spaces of alleged protection and endangered peacefulness. Waiting Room VII. Rubber Souls marks the idea of conditions reversed. The weakest take charge of the scene, as Orwell describes in “Animal Farm”. From all sides, rampant growth infests, occupies and animates the space.

Dagmar Lippok (K.i.N.)

Studio, tattoo prints beneath PVC floor covering, 70 x 70 cm, from the series ´oberflaeche (surface)´ 2009-11

The basis of the collages are photographs, which were taken by the tattoo artists themselves directly after tattooing. Those pictures show skin that is redenned, but not swollen yet. The flashlight of the camera reflects on the vaseline film of the skin. Dagmar Lippok had those images duplicated, and details of the skin enlarged and multiplied. A special print method alienates the originals, the photographs get pictorial character.

Linda Opgen-Rhein (K.i.N.)

ich muss stärker geworden sein (I must have grown stronger), ink on paper, 14,8 x 210 cm, 2013

In my illustrations fine arts and graphics overlap. In this case they were created for an anthology, the result of a writing-competition, organized by ‚Gesellschaft für Westfaelische Kulturarbeit’ and the Ascheberg-Community (Muensterland). The illustrations are a combination of handwriting (extractions of the juried texts) and objective drawings. The anthology ist part of the presentation. (Linda Opgen-Rhein)

Willi Otremba

o.T., 2013, photo: Jens Sundheim

In my paintings vague and indifferent spatial perceptions cannot be transmitted into or even replaced by an ultimate insight. A quality of painting, which explicitly has color  as a picture motif, is that the impression of color can never be transferred into a completely definable fact. Color itself always remains in the area of non-definable allusions. Respectively, the single spectator is the trigger for one's own present idea of what actually happens in the picture without him or her being able to regulate this. (Willi Otremba)

Gaby Peters

Installation, Fortuna X14.3, 2012, 2,70 x 2,70 x 0,90 m, Aluminiumbleche, Motoren, Förderband, Trichtermechanismus, Stampfmechanismus, photo: Hannes Woidich

Fortuna X/14.3 is a fortune cookie-crushing-machine. Its oversized proportions emphasize the indifference with which it pounds the comparatively tiny cookies into bits and reduces the process of industrial mass production to absurdity. The yellow chute is filled with fortune cookies, which – via a mechanical contraption – are then in turn dropped onto the conveyor belt which delivers them to the crusher where the fortune cookie is pounded into bits. At the end of the conveyor belt, the object, which is so important to some people (the paper slip with the visionary message for the future), falls together with the fortune cookie pieces on a pile of already crushed cookies at the end of the belt. (Gaby Peters)

Dirk Pleyer

No Place Like Home, Foto: Denise Winter

A good friend, his hands full of brushes, guitars, pens, cameras.
A good friend who don‘t need to be understood.
A good friend who won`t leave.
I show my book of (un)realized ideas, made unintentionally, growing without any effort.
It feels like coming home.

Rona Rangsch

fyrir hafvillu fram, 3-channel video, 5:38 min, Norway/Newfoundland, 2012

The work addresses the fascination and challenges of the Norse trans-atlantic journeys around the year 1000AD which mark the first proven contact between the so-called Old and New World. Moreover, with the first encounter between Norsemen and members of the indigenous peoples of North America the encircling of the globe by humankind was completed.
The channels show (from right to left as to represent the journeys from East to West): departure from Norway, journey on the open ocean, arrival in the New World. The title is old Norse for 'onwards despite the risk of getting lost at sea' and refers to the amazing achievement of the Norse seafarers of crossing the Atlantic without any effective navigational tools.

Arno Schidlowski (K.i.N.)

o.T. (Schmetterling)

Without any specific plan or clear-cut goal, Arno Schidlowski approaches his subject, ready to react spontaneously as soon as that decisive moment seems to have come.
Instinctive and rational perception are in a state of tension here, focusing in on the moment in time of a photograph. They influence his search for images and give the observer of his works multiple layers of emotional scope.The analytical and atmospheric come together in serial-format photographic works as a personal viewpoint on the universal.

Maria Schleiner

turtle dreams, 2012/13, video projection, drawings on Japan paper, ink/coal drawings, exhibition: TurtleDragon, Kunsthalle m³ Atelierhaus Mengerzeile, Berlin (with Gabriele Seifert), 2013, photo: Jens Sundheim

„outside field“- 2012 was the  studio during an artist-in-residence program in the beginning not available.  To do drawings outside in the landscape of the Elbtalaue /Brandenburg was the obvious idea. Since that time an intense body of works, drawings and videos, done outside arised especcially in the landscapes of Brandenburg and the Engadin (Switherland).  In the staircase of the Künstlerhaus Dortmund, sliding down deep and dark , a video projection and an installation of japanese paper will be presented corresponding to the work outside in the landscape.

Ulrike Stockhaus (K.i.N.)

"ad infinitum" und "dancing with a mirror", Quicktime, videos, DV-Pal, sound, 2009

The two video works were realised during an artist residency in Osaka, Japan that was organised by Kuenstlerhaus Dortmund in 2008.
Buddhistic, transcendental monks chanting and the interior or a temple are opposed to a group of young people performing a rap to the sound of a ghetto blaster in front of a shop window. The sound interweaves or distinguishes the coexistence of a wide variety of cultural levels that are omnipresent in Japan.

Jens Sundheim

from the work series "Realms of Science", 2013

Jens Sundheim erforscht in seiner Arbeit Lebenswelten, nahe und ferne, tatsächliche und mögliche. Idealvorstellungen und Utopien auf der einen Seite, fassbare Wirklichkeiten auf der anderen. Die Entwicklung städtischer Räume spielt in seiner Arbeit eine Rolle, ebenso wie Aspekte technologischen Fortschritts und wissenschaftlicher Forschung. Zeigt Fotografie in der Regel Vergangenes und Dagewesenes, schauen Jens Sundheims Bildwelten immer auch in die Zukunft.
Teils entstehen die Arbeiten mit der Kamera in der Hand – andere nutzen und hinterfragen das Internet als Bildbereitstellungs- und -verbreitungsmaschine.

Elly Valk-Verheijen

KH_20130312_13:31, 2013, on an area of ca. 1.96 x 1.80 m, material all: acrylic/varnish/filler; material floor: weaved wool, photo: Jens Sundheim

For the exhibition „Ausnahmezustand“ Elly Valk-Verheijen worked out a site-specific installation. This installation is based on a digital photography taken from the apparently white wall or grey floor. Using computer editing, she discovers in the resolution reduced picture colours and forms. Parts of this coloured pixels will be transferred as paintings and handwoven-rugs into reality 1:1 at the same place as seen in the picture.

Adriane Wachholz

Caspar Walbeck

photo: Jens Sundheim

Im Rahmen von "Ausnahmezustand" erwartet uns eine ortsbezogene Arbeit, die an architektonische Gegebenheiten im Künstlerhaus anknüpft. Caspar Walbeck beschäftigt sich mit der Wahrnehmung von Räumen. Dabei kann beispielsweise unser Blick durch sog. "Sehhilfen" die intuitive Orientierung und Fortbewegung im Raum nahezu unmöglich machen, oder wir bewegen uns durch ein labyrinthisches Netz aus Gängen, das einen Raum in seiner ursprünglichen Erscheinung ausblendet und als solchen neu definiert.

Ulrich Weber

no titel / 2013_01; 2013; about 140 x 60 x 80 cm; steel, wood, (wall)

Denise Winter

calving_ reverse, 2013, size variable, installation with slide projectors

Calving describes the process if bigger masses of ice of glaciers ending in the sea break off. In my installation “calving_reverse” the detached, free-swimming icebergs fit together again. Strictly speaking they overlap in the projection and a drawing emerge which changes steadily in the rhythm of the slide projectors.

Marco Wittkowski (K.i.N.)

Zitronen, vintage C-Print on AluDibond behind 4 mm plexiglass, 80 x 180 cm, 2012

In times of the plague till the discovery of the existence of bacteria at the end of the 19th century, lemons were considered as a symbol of mourning. People brought them along to funerals to be protected against infection. In the ISAS Institute Dortmund in 2012 I examined under the scanning electron microscope (SEM) components of a rose and a lemon. Like a medieval winged altar the work “lemons” is assembled from three individual SEM-pictures. The skin of the lemon seems like a poetic landscape, as the finite stream of life.(Marco Wittkowski)

Hannes Woidich (K.i.N.)

Ufer, 46 x 37 cm, C-Print on Aludibond behind plexiglass

The photographer Hannes Woidich shows in his nine-part series forestry night landscapes that seem to lead a life of their own in the dark. "Forst" focuses on the mutability of things in perception, in that they are literally put into a new light. A mysterious ray, lights forests and penetrates into the undergrowth. The lighting creates a mysterious mood, an alienation that brings to mind the astonished gaze of a child.

Concept and Organisation: The members and networkers of Kuenstlerhaus Dortmund
images ©: the artists, if not stated otherwise
photos opening
©: Jens Sundheim

Kindly supported by:
Kulturbüro Dortmund, Sparkasse Dortmund, DEW21, Holz Kummer