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Opening today: „Lebt und arbeitet in Wien“ @kunsthallewien
1.5.–26.10.2026

Happy to be part of this
❤️

Opening today: „Lebt und arbeitet in Wien“ @kunsthallewien
1.5.–26.10.2026

Happy to be part of this
❤️

Opening today: „Lebt und arbeitet in Wien“ @kunsthallewien
1.5.–26.10.2026

Happy to be part of this
❤️

Opening today: „Lebt und arbeitet in Wien“ @kunsthallewien
1.5.–26.10.2026

Happy to be part of this
❤️

HAPPY EASTER

Welt, 2008
stamps, loose-leaf stock pages; framed (123 frames)
93 x 1025 cm

I reorganized my childhood stamp collection—about 6,000 stamps in total—by color. Along the horizontal central axis are the pure hues, arranged in a gradient from yellow, orange, red, violet, turquoise, and green, becoming lighter above and darker below.

Each stamp finds its place—regardless of size, value, motif, year or country…

collection of:
@nmnmonaco

Installationshot of the exhibition:
Nichts geht mehr, 2011
@iacvilleurbanne
by @blaiseadilon

HAPPY EASTER

Welt, 2008
stamps, loose-leaf stock pages; framed (123 frames)
93 x 1025 cm

I reorganized my childhood stamp collection—about 6,000 stamps in total—by color. Along the horizontal central axis are the pure hues, arranged in a gradient from yellow, orange, red, violet, turquoise, and green, becoming lighter above and darker below.

Each stamp finds its place—regardless of size, value, motif, year or country…

collection of:
@nmnmonaco

Installationshot of the exhibition:
Nichts geht mehr, 2011
@iacvilleurbanne
by @blaiseadilon

HAPPY EASTER

Welt, 2008
stamps, loose-leaf stock pages; framed (123 frames)
93 x 1025 cm

I reorganized my childhood stamp collection—about 6,000 stamps in total—by color. Along the horizontal central axis are the pure hues, arranged in a gradient from yellow, orange, red, violet, turquoise, and green, becoming lighter above and darker below.

Each stamp finds its place—regardless of size, value, motif, year or country…

collection of:
@nmnmonaco

Installationshot of the exhibition:
Nichts geht mehr, 2011
@iacvilleurbanne
by @blaiseadilon

HAPPY EASTER

Welt, 2008
stamps, loose-leaf stock pages; framed (123 frames)
93 x 1025 cm

I reorganized my childhood stamp collection—about 6,000 stamps in total—by color. Along the horizontal central axis are the pure hues, arranged in a gradient from yellow, orange, red, violet, turquoise, and green, becoming lighter above and darker below.

Each stamp finds its place—regardless of size, value, motif, year or country…

collection of:
@nmnmonaco

Installationshot of the exhibition:
Nichts geht mehr, 2011
@iacvilleurbanne
by @blaiseadilon

HAPPY EASTER

Welt, 2008
stamps, loose-leaf stock pages; framed (123 frames)
93 x 1025 cm

I reorganized my childhood stamp collection—about 6,000 stamps in total—by color. Along the horizontal central axis are the pure hues, arranged in a gradient from yellow, orange, red, violet, turquoise, and green, becoming lighter above and darker below.

Each stamp finds its place—regardless of size, value, motif, year or country…

collection of:
@nmnmonaco

Installationshot of the exhibition:
Nichts geht mehr, 2011
@iacvilleurbanne
by @blaiseadilon

HAPPY EASTER

Welt, 2008
stamps, loose-leaf stock pages; framed (123 frames)
93 x 1025 cm

I reorganized my childhood stamp collection—about 6,000 stamps in total—by color. Along the horizontal central axis are the pure hues, arranged in a gradient from yellow, orange, red, violet, turquoise, and green, becoming lighter above and darker below.

Each stamp finds its place—regardless of size, value, motif, year or country…

collection of:
@nmnmonaco

Installationshot of the exhibition:
Nichts geht mehr, 2011
@iacvilleurbanne
by @blaiseadilon

HAPPY EASTER

Welt, 2008
stamps, loose-leaf stock pages; framed (123 frames)
93 x 1025 cm

I reorganized my childhood stamp collection—about 6,000 stamps in total—by color. Along the horizontal central axis are the pure hues, arranged in a gradient from yellow, orange, red, violet, turquoise, and green, becoming lighter above and darker below.

Each stamp finds its place—regardless of size, value, motif, year or country…

collection of:
@nmnmonaco

Installationshot of the exhibition:
Nichts geht mehr, 2011
@iacvilleurbanne
by @blaiseadilon

HAPPY EASTER

Welt, 2008
stamps, loose-leaf stock pages; framed (123 frames)
93 x 1025 cm

I reorganized my childhood stamp collection—about 6,000 stamps in total—by color. Along the horizontal central axis are the pure hues, arranged in a gradient from yellow, orange, red, violet, turquoise, and green, becoming lighter above and darker below.

Each stamp finds its place—regardless of size, value, motif, year or country…

collection of:
@nmnmonaco

Installationshot of the exhibition:
Nichts geht mehr, 2011
@iacvilleurbanne
by @blaiseadilon

HAPPY EASTER

Welt, 2008
stamps, loose-leaf stock pages; framed (123 frames)
93 x 1025 cm

I reorganized my childhood stamp collection—about 6,000 stamps in total—by color. Along the horizontal central axis are the pure hues, arranged in a gradient from yellow, orange, red, violet, turquoise, and green, becoming lighter above and darker below.

Each stamp finds its place—regardless of size, value, motif, year or country…

collection of:
@nmnmonaco

Installationshot of the exhibition:
Nichts geht mehr, 2011
@iacvilleurbanne
by @blaiseadilon

HAPPY EASTER

Welt, 2008
stamps, loose-leaf stock pages; framed (123 frames)
93 x 1025 cm

I reorganized my childhood stamp collection—about 6,000 stamps in total—by color. Along the horizontal central axis are the pure hues, arranged in a gradient from yellow, orange, red, violet, turquoise, and green, becoming lighter above and darker below.

Each stamp finds its place—regardless of size, value, motif, year or country…

collection of:
@nmnmonaco

Installationshot of the exhibition:
Nichts geht mehr, 2011
@iacvilleurbanne
by @blaiseadilon

HAPPY EASTER

Welt, 2008
stamps, loose-leaf stock pages; framed (123 frames)
93 x 1025 cm

I reorganized my childhood stamp collection—about 6,000 stamps in total—by color. Along the horizontal central axis are the pure hues, arranged in a gradient from yellow, orange, red, violet, turquoise, and green, becoming lighter above and darker below.

Each stamp finds its place—regardless of size, value, motif, year or country…

collection of:
@nmnmonaco

Installationshot of the exhibition:
Nichts geht mehr, 2011
@iacvilleurbanne
by @blaiseadilon

Gegenstand der Verhandlung
@verein.fortuna
❤️
19.02. – 01.03.2026

slide 1, 4, 5
Fortsein im Hiersein, 2026
Aluminium, Holz, Schrauben
193 x 233 x 13 cm

slide 2, 3
Rolltreppe, 2026
Kopie Werkliste (Ausstellung) und Setlist (Original gefunden nach dem Konzert der Band Rolltreppe am Fuzzstock 2025)
29,7 x 21 cm

slide 6
Fortuna, 2026
Horn einer Gailtaler Kuh, Nagel
18,2 x 11,7 x 6,3 cm

slide 7
Becher (S,M,L), 2015
Porzellan
6, 10, 17 x Ø 8,3 cm

A, 2015
Bierflasche, Korrekturflüssigkeit, Lack
26 x Ø 6,5 cm

slide 8
Get-together (Flyer), 2021
Pigmentdruck auf Büttenpapier, Graphit, Klebeband, Acrylbox-Rahmen
27,7 x 21,2 x 3,1 cm

slide 9
Türschild, 2022
Türschild, Pigmentdruck auf Büttenpapier
21,5 x 15,3 x 1,3 cm

slide 10
Aus der Serie ich weiß mir keinen Helfer (Fortuna), 2026
Autoaufkleber
8 x 8 cm

Photos: @luxstlux

Gegenstand der Verhandlung
@verein.fortuna
❤️
19.02. – 01.03.2026

slide 1, 4, 5
Fortsein im Hiersein, 2026
Aluminium, Holz, Schrauben
193 x 233 x 13 cm

slide 2, 3
Rolltreppe, 2026
Kopie Werkliste (Ausstellung) und Setlist (Original gefunden nach dem Konzert der Band Rolltreppe am Fuzzstock 2025)
29,7 x 21 cm

slide 6
Fortuna, 2026
Horn einer Gailtaler Kuh, Nagel
18,2 x 11,7 x 6,3 cm

slide 7
Becher (S,M,L), 2015
Porzellan
6, 10, 17 x Ø 8,3 cm

A, 2015
Bierflasche, Korrekturflüssigkeit, Lack
26 x Ø 6,5 cm

slide 8
Get-together (Flyer), 2021
Pigmentdruck auf Büttenpapier, Graphit, Klebeband, Acrylbox-Rahmen
27,7 x 21,2 x 3,1 cm

slide 9
Türschild, 2022
Türschild, Pigmentdruck auf Büttenpapier
21,5 x 15,3 x 1,3 cm

slide 10
Aus der Serie ich weiß mir keinen Helfer (Fortuna), 2026
Autoaufkleber
8 x 8 cm

Photos: @luxstlux

Gegenstand der Verhandlung
@verein.fortuna
❤️
19.02. – 01.03.2026

slide 1, 4, 5
Fortsein im Hiersein, 2026
Aluminium, Holz, Schrauben
193 x 233 x 13 cm

slide 2, 3
Rolltreppe, 2026
Kopie Werkliste (Ausstellung) und Setlist (Original gefunden nach dem Konzert der Band Rolltreppe am Fuzzstock 2025)
29,7 x 21 cm

slide 6
Fortuna, 2026
Horn einer Gailtaler Kuh, Nagel
18,2 x 11,7 x 6,3 cm

slide 7
Becher (S,M,L), 2015
Porzellan
6, 10, 17 x Ø 8,3 cm

A, 2015
Bierflasche, Korrekturflüssigkeit, Lack
26 x Ø 6,5 cm

slide 8
Get-together (Flyer), 2021
Pigmentdruck auf Büttenpapier, Graphit, Klebeband, Acrylbox-Rahmen
27,7 x 21,2 x 3,1 cm

slide 9
Türschild, 2022
Türschild, Pigmentdruck auf Büttenpapier
21,5 x 15,3 x 1,3 cm

slide 10
Aus der Serie ich weiß mir keinen Helfer (Fortuna), 2026
Autoaufkleber
8 x 8 cm

Photos: @luxstlux

Gegenstand der Verhandlung
@verein.fortuna
❤️
19.02. – 01.03.2026

slide 1, 4, 5
Fortsein im Hiersein, 2026
Aluminium, Holz, Schrauben
193 x 233 x 13 cm

slide 2, 3
Rolltreppe, 2026
Kopie Werkliste (Ausstellung) und Setlist (Original gefunden nach dem Konzert der Band Rolltreppe am Fuzzstock 2025)
29,7 x 21 cm

slide 6
Fortuna, 2026
Horn einer Gailtaler Kuh, Nagel
18,2 x 11,7 x 6,3 cm

slide 7
Becher (S,M,L), 2015
Porzellan
6, 10, 17 x Ø 8,3 cm

A, 2015
Bierflasche, Korrekturflüssigkeit, Lack
26 x Ø 6,5 cm

slide 8
Get-together (Flyer), 2021
Pigmentdruck auf Büttenpapier, Graphit, Klebeband, Acrylbox-Rahmen
27,7 x 21,2 x 3,1 cm

slide 9
Türschild, 2022
Türschild, Pigmentdruck auf Büttenpapier
21,5 x 15,3 x 1,3 cm

slide 10
Aus der Serie ich weiß mir keinen Helfer (Fortuna), 2026
Autoaufkleber
8 x 8 cm

Photos: @luxstlux

Gegenstand der Verhandlung
@verein.fortuna
❤️
19.02. – 01.03.2026

slide 1, 4, 5
Fortsein im Hiersein, 2026
Aluminium, Holz, Schrauben
193 x 233 x 13 cm

slide 2, 3
Rolltreppe, 2026
Kopie Werkliste (Ausstellung) und Setlist (Original gefunden nach dem Konzert der Band Rolltreppe am Fuzzstock 2025)
29,7 x 21 cm

slide 6
Fortuna, 2026
Horn einer Gailtaler Kuh, Nagel
18,2 x 11,7 x 6,3 cm

slide 7
Becher (S,M,L), 2015
Porzellan
6, 10, 17 x Ø 8,3 cm

A, 2015
Bierflasche, Korrekturflüssigkeit, Lack
26 x Ø 6,5 cm

slide 8
Get-together (Flyer), 2021
Pigmentdruck auf Büttenpapier, Graphit, Klebeband, Acrylbox-Rahmen
27,7 x 21,2 x 3,1 cm

slide 9
Türschild, 2022
Türschild, Pigmentdruck auf Büttenpapier
21,5 x 15,3 x 1,3 cm

slide 10
Aus der Serie ich weiß mir keinen Helfer (Fortuna), 2026
Autoaufkleber
8 x 8 cm

Photos: @luxstlux

Gegenstand der Verhandlung
@verein.fortuna
❤️
19.02. – 01.03.2026

slide 1, 4, 5
Fortsein im Hiersein, 2026
Aluminium, Holz, Schrauben
193 x 233 x 13 cm

slide 2, 3
Rolltreppe, 2026
Kopie Werkliste (Ausstellung) und Setlist (Original gefunden nach dem Konzert der Band Rolltreppe am Fuzzstock 2025)
29,7 x 21 cm

slide 6
Fortuna, 2026
Horn einer Gailtaler Kuh, Nagel
18,2 x 11,7 x 6,3 cm

slide 7
Becher (S,M,L), 2015
Porzellan
6, 10, 17 x Ø 8,3 cm

A, 2015
Bierflasche, Korrekturflüssigkeit, Lack
26 x Ø 6,5 cm

slide 8
Get-together (Flyer), 2021
Pigmentdruck auf Büttenpapier, Graphit, Klebeband, Acrylbox-Rahmen
27,7 x 21,2 x 3,1 cm

slide 9
Türschild, 2022
Türschild, Pigmentdruck auf Büttenpapier
21,5 x 15,3 x 1,3 cm

slide 10
Aus der Serie ich weiß mir keinen Helfer (Fortuna), 2026
Autoaufkleber
8 x 8 cm

Photos: @luxstlux

Gegenstand der Verhandlung
@verein.fortuna
❤️
19.02. – 01.03.2026

slide 1, 4, 5
Fortsein im Hiersein, 2026
Aluminium, Holz, Schrauben
193 x 233 x 13 cm

slide 2, 3
Rolltreppe, 2026
Kopie Werkliste (Ausstellung) und Setlist (Original gefunden nach dem Konzert der Band Rolltreppe am Fuzzstock 2025)
29,7 x 21 cm

slide 6
Fortuna, 2026
Horn einer Gailtaler Kuh, Nagel
18,2 x 11,7 x 6,3 cm

slide 7
Becher (S,M,L), 2015
Porzellan
6, 10, 17 x Ø 8,3 cm

A, 2015
Bierflasche, Korrekturflüssigkeit, Lack
26 x Ø 6,5 cm

slide 8
Get-together (Flyer), 2021
Pigmentdruck auf Büttenpapier, Graphit, Klebeband, Acrylbox-Rahmen
27,7 x 21,2 x 3,1 cm

slide 9
Türschild, 2022
Türschild, Pigmentdruck auf Büttenpapier
21,5 x 15,3 x 1,3 cm

slide 10
Aus der Serie ich weiß mir keinen Helfer (Fortuna), 2026
Autoaufkleber
8 x 8 cm

Photos: @luxstlux

Gegenstand der Verhandlung
@verein.fortuna
❤️
19.02. – 01.03.2026

slide 1, 4, 5
Fortsein im Hiersein, 2026
Aluminium, Holz, Schrauben
193 x 233 x 13 cm

slide 2, 3
Rolltreppe, 2026
Kopie Werkliste (Ausstellung) und Setlist (Original gefunden nach dem Konzert der Band Rolltreppe am Fuzzstock 2025)
29,7 x 21 cm

slide 6
Fortuna, 2026
Horn einer Gailtaler Kuh, Nagel
18,2 x 11,7 x 6,3 cm

slide 7
Becher (S,M,L), 2015
Porzellan
6, 10, 17 x Ø 8,3 cm

A, 2015
Bierflasche, Korrekturflüssigkeit, Lack
26 x Ø 6,5 cm

slide 8
Get-together (Flyer), 2021
Pigmentdruck auf Büttenpapier, Graphit, Klebeband, Acrylbox-Rahmen
27,7 x 21,2 x 3,1 cm

slide 9
Türschild, 2022
Türschild, Pigmentdruck auf Büttenpapier
21,5 x 15,3 x 1,3 cm

slide 10
Aus der Serie ich weiß mir keinen Helfer (Fortuna), 2026
Autoaufkleber
8 x 8 cm

Photos: @luxstlux

Gegenstand der Verhandlung
@verein.fortuna
❤️
19.02. – 01.03.2026

slide 1, 4, 5
Fortsein im Hiersein, 2026
Aluminium, Holz, Schrauben
193 x 233 x 13 cm

slide 2, 3
Rolltreppe, 2026
Kopie Werkliste (Ausstellung) und Setlist (Original gefunden nach dem Konzert der Band Rolltreppe am Fuzzstock 2025)
29,7 x 21 cm

slide 6
Fortuna, 2026
Horn einer Gailtaler Kuh, Nagel
18,2 x 11,7 x 6,3 cm

slide 7
Becher (S,M,L), 2015
Porzellan
6, 10, 17 x Ø 8,3 cm

A, 2015
Bierflasche, Korrekturflüssigkeit, Lack
26 x Ø 6,5 cm

slide 8
Get-together (Flyer), 2021
Pigmentdruck auf Büttenpapier, Graphit, Klebeband, Acrylbox-Rahmen
27,7 x 21,2 x 3,1 cm

slide 9
Türschild, 2022
Türschild, Pigmentdruck auf Büttenpapier
21,5 x 15,3 x 1,3 cm

slide 10
Aus der Serie ich weiß mir keinen Helfer (Fortuna), 2026
Autoaufkleber
8 x 8 cm

Photos: @luxstlux

Gegenstand der Verhandlung
@verein.fortuna
❤️
19.02. – 01.03.2026

slide 1, 4, 5
Fortsein im Hiersein, 2026
Aluminium, Holz, Schrauben
193 x 233 x 13 cm

slide 2, 3
Rolltreppe, 2026
Kopie Werkliste (Ausstellung) und Setlist (Original gefunden nach dem Konzert der Band Rolltreppe am Fuzzstock 2025)
29,7 x 21 cm

slide 6
Fortuna, 2026
Horn einer Gailtaler Kuh, Nagel
18,2 x 11,7 x 6,3 cm

slide 7
Becher (S,M,L), 2015
Porzellan
6, 10, 17 x Ø 8,3 cm

A, 2015
Bierflasche, Korrekturflüssigkeit, Lack
26 x Ø 6,5 cm

slide 8
Get-together (Flyer), 2021
Pigmentdruck auf Büttenpapier, Graphit, Klebeband, Acrylbox-Rahmen
27,7 x 21,2 x 3,1 cm

slide 9
Türschild, 2022
Türschild, Pigmentdruck auf Büttenpapier
21,5 x 15,3 x 1,3 cm

slide 10
Aus der Serie ich weiß mir keinen Helfer (Fortuna), 2026
Autoaufkleber
8 x 8 cm

Photos: @luxstlux

Acum-Zdaj, 2026
Publication
32 pages
3 postcards
14,8 x 10,7 cm
Print Run: 100
Layout: @dorotheabrunialti

The word „Now“ in 31 European languages

Presentation of the publication
March 7th, 7pm @fotogaleriewien
together with opening of Display Cabinet by @annalerch
and finisage/catalog presentation of @hiroshitakizawa0118

Acum-Zdaj, 2026
Publication
32 pages
3 postcards
14,8 x 10,7 cm
Print Run: 100
Layout: @dorotheabrunialti

The word „Now“ in 31 European languages

Presentation of the publication
March 7th, 7pm @fotogaleriewien
together with opening of Display Cabinet by @annalerch
and finisage/catalog presentation of @hiroshitakizawa0118

Acum-Zdaj, 2026
Publication
32 pages
3 postcards
14,8 x 10,7 cm
Print Run: 100
Layout: @dorotheabrunialti

The word „Now“ in 31 European languages

Presentation of the publication
March 7th, 7pm @fotogaleriewien
together with opening of Display Cabinet by @annalerch
and finisage/catalog presentation of @hiroshitakizawa0118

Acum-Zdaj, 2026
Publication
32 pages
3 postcards
14,8 x 10,7 cm
Print Run: 100
Layout: @dorotheabrunialti

The word „Now“ in 31 European languages

Presentation of the publication
March 7th, 7pm @fotogaleriewien
together with opening of Display Cabinet by @annalerch
and finisage/catalog presentation of @hiroshitakizawa0118

Acum-Zdaj, 2026
Publication
32 pages
3 postcards
14,8 x 10,7 cm
Print Run: 100
Layout: @dorotheabrunialti

The word „Now“ in 31 European languages

Presentation of the publication
March 7th, 7pm @fotogaleriewien
together with opening of Display Cabinet by @annalerch
and finisage/catalog presentation of @hiroshitakizawa0118

Acum-Zdaj, 2026
Publication
32 pages
3 postcards
14,8 x 10,7 cm
Print Run: 100
Layout: @dorotheabrunialti

The word „Now“ in 31 European languages

Presentation of the publication
March 7th, 7pm @fotogaleriewien
together with opening of Display Cabinet by @annalerch
and finisage/catalog presentation of @hiroshitakizawa0118

Acum-Zdaj, 2026
Publication
32 pages
3 postcards
14,8 x 10,7 cm
Print Run: 100
Layout: @dorotheabrunialti

The word „Now“ in 31 European languages

Presentation of the publication
March 7th, 7pm @fotogaleriewien
together with opening of Display Cabinet by @annalerch
and finisage/catalog presentation of @hiroshitakizawa0118

Acum-Zdaj, 2026
Publication
32 pages
3 postcards
14,8 x 10,7 cm
Print Run: 100
Layout: @dorotheabrunialti

The word „Now“ in 31 European languages

Presentation of the publication
March 7th, 7pm @fotogaleriewien
together with opening of Display Cabinet by @annalerch
and finisage/catalog presentation of @hiroshitakizawa0118

Opening @verein.fortuna on Thursday 19th of February, from 6 to 10 pm

Photo: @ingoingobingo

Opening @verein.fortuna on Thursday 19th of February, from 6 to 10 pm

Photo: @ingoingobingo

Il Grande Cretto di Gibellina
Alberto Burri
1984-1989/2015

Finally visiting this incredible place and walking the empty roads during a rainy afternoon.
❤️
Spanning 300 x 300 meter, the Grande Cretto by Alberto Burri (Città di Castello, 1915 - Nice, 1995) covers the ruins of the city of Gibellina which was destroyed during the night between 14th and 15th January 1968 with huge blocks of white cement.
The work echoes in part the road network of the city, to preserve its memory for future generations, and sits in the landscape like a grand set design relating to the natural surroundings and in recognition of
Segesta and Selinunte monuments which inspired Burri’s work. Defined by Ludovico Corrao (the post-earthquake mayor who commissioned its creation, after the 1970 appeal to artists) as a polysemantic, symbolic, dreamlike, socially aware work, the Cretto is today one of the largest and well known works of Land art (environmental art) in the world, and has preserved and amplified the story of this small Sicilian farming region. It was built in a first phase between 1984 and 1989 and then it’s been completed in 2015.
(Text: Info board)

7. Ghosthand @globalinternational_2020

10. Gibellina on the morning after the earthquake in the night of 14th January 1968 (ph. Giaramidaro)

#terremoto
#gibellina
#albertoburri
#crettodiburri

Il Grande Cretto di Gibellina
Alberto Burri
1984-1989/2015

Finally visiting this incredible place and walking the empty roads during a rainy afternoon.
❤️
Spanning 300 x 300 meter, the Grande Cretto by Alberto Burri (Città di Castello, 1915 - Nice, 1995) covers the ruins of the city of Gibellina which was destroyed during the night between 14th and 15th January 1968 with huge blocks of white cement.
The work echoes in part the road network of the city, to preserve its memory for future generations, and sits in the landscape like a grand set design relating to the natural surroundings and in recognition of
Segesta and Selinunte monuments which inspired Burri’s work. Defined by Ludovico Corrao (the post-earthquake mayor who commissioned its creation, after the 1970 appeal to artists) as a polysemantic, symbolic, dreamlike, socially aware work, the Cretto is today one of the largest and well known works of Land art (environmental art) in the world, and has preserved and amplified the story of this small Sicilian farming region. It was built in a first phase between 1984 and 1989 and then it’s been completed in 2015.
(Text: Info board)

7. Ghosthand @globalinternational_2020

10. Gibellina on the morning after the earthquake in the night of 14th January 1968 (ph. Giaramidaro)

#terremoto
#gibellina
#albertoburri
#crettodiburri

Il Grande Cretto di Gibellina
Alberto Burri
1984-1989/2015

Finally visiting this incredible place and walking the empty roads during a rainy afternoon.
❤️
Spanning 300 x 300 meter, the Grande Cretto by Alberto Burri (Città di Castello, 1915 - Nice, 1995) covers the ruins of the city of Gibellina which was destroyed during the night between 14th and 15th January 1968 with huge blocks of white cement.
The work echoes in part the road network of the city, to preserve its memory for future generations, and sits in the landscape like a grand set design relating to the natural surroundings and in recognition of
Segesta and Selinunte monuments which inspired Burri’s work. Defined by Ludovico Corrao (the post-earthquake mayor who commissioned its creation, after the 1970 appeal to artists) as a polysemantic, symbolic, dreamlike, socially aware work, the Cretto is today one of the largest and well known works of Land art (environmental art) in the world, and has preserved and amplified the story of this small Sicilian farming region. It was built in a first phase between 1984 and 1989 and then it’s been completed in 2015.
(Text: Info board)

7. Ghosthand @globalinternational_2020

10. Gibellina on the morning after the earthquake in the night of 14th January 1968 (ph. Giaramidaro)

#terremoto
#gibellina
#albertoburri
#crettodiburri

Il Grande Cretto di Gibellina
Alberto Burri
1984-1989/2015

Finally visiting this incredible place and walking the empty roads during a rainy afternoon.
❤️
Spanning 300 x 300 meter, the Grande Cretto by Alberto Burri (Città di Castello, 1915 - Nice, 1995) covers the ruins of the city of Gibellina which was destroyed during the night between 14th and 15th January 1968 with huge blocks of white cement.
The work echoes in part the road network of the city, to preserve its memory for future generations, and sits in the landscape like a grand set design relating to the natural surroundings and in recognition of
Segesta and Selinunte monuments which inspired Burri’s work. Defined by Ludovico Corrao (the post-earthquake mayor who commissioned its creation, after the 1970 appeal to artists) as a polysemantic, symbolic, dreamlike, socially aware work, the Cretto is today one of the largest and well known works of Land art (environmental art) in the world, and has preserved and amplified the story of this small Sicilian farming region. It was built in a first phase between 1984 and 1989 and then it’s been completed in 2015.
(Text: Info board)

7. Ghosthand @globalinternational_2020

10. Gibellina on the morning after the earthquake in the night of 14th January 1968 (ph. Giaramidaro)

#terremoto
#gibellina
#albertoburri
#crettodiburri

Il Grande Cretto di Gibellina
Alberto Burri
1984-1989/2015

Finally visiting this incredible place and walking the empty roads during a rainy afternoon.
❤️
Spanning 300 x 300 meter, the Grande Cretto by Alberto Burri (Città di Castello, 1915 - Nice, 1995) covers the ruins of the city of Gibellina which was destroyed during the night between 14th and 15th January 1968 with huge blocks of white cement.
The work echoes in part the road network of the city, to preserve its memory for future generations, and sits in the landscape like a grand set design relating to the natural surroundings and in recognition of
Segesta and Selinunte monuments which inspired Burri’s work. Defined by Ludovico Corrao (the post-earthquake mayor who commissioned its creation, after the 1970 appeal to artists) as a polysemantic, symbolic, dreamlike, socially aware work, the Cretto is today one of the largest and well known works of Land art (environmental art) in the world, and has preserved and amplified the story of this small Sicilian farming region. It was built in a first phase between 1984 and 1989 and then it’s been completed in 2015.
(Text: Info board)

7. Ghosthand @globalinternational_2020

10. Gibellina on the morning after the earthquake in the night of 14th January 1968 (ph. Giaramidaro)

#terremoto
#gibellina
#albertoburri
#crettodiburri

Il Grande Cretto di Gibellina
Alberto Burri
1984-1989/2015

Finally visiting this incredible place and walking the empty roads during a rainy afternoon.
❤️
Spanning 300 x 300 meter, the Grande Cretto by Alberto Burri (Città di Castello, 1915 - Nice, 1995) covers the ruins of the city of Gibellina which was destroyed during the night between 14th and 15th January 1968 with huge blocks of white cement.
The work echoes in part the road network of the city, to preserve its memory for future generations, and sits in the landscape like a grand set design relating to the natural surroundings and in recognition of
Segesta and Selinunte monuments which inspired Burri’s work. Defined by Ludovico Corrao (the post-earthquake mayor who commissioned its creation, after the 1970 appeal to artists) as a polysemantic, symbolic, dreamlike, socially aware work, the Cretto is today one of the largest and well known works of Land art (environmental art) in the world, and has preserved and amplified the story of this small Sicilian farming region. It was built in a first phase between 1984 and 1989 and then it’s been completed in 2015.
(Text: Info board)

7. Ghosthand @globalinternational_2020

10. Gibellina on the morning after the earthquake in the night of 14th January 1968 (ph. Giaramidaro)

#terremoto
#gibellina
#albertoburri
#crettodiburri

Il Grande Cretto di Gibellina
Alberto Burri
1984-1989/2015

Finally visiting this incredible place and walking the empty roads during a rainy afternoon.
❤️
Spanning 300 x 300 meter, the Grande Cretto by Alberto Burri (Città di Castello, 1915 - Nice, 1995) covers the ruins of the city of Gibellina which was destroyed during the night between 14th and 15th January 1968 with huge blocks of white cement.
The work echoes in part the road network of the city, to preserve its memory for future generations, and sits in the landscape like a grand set design relating to the natural surroundings and in recognition of
Segesta and Selinunte monuments which inspired Burri’s work. Defined by Ludovico Corrao (the post-earthquake mayor who commissioned its creation, after the 1970 appeal to artists) as a polysemantic, symbolic, dreamlike, socially aware work, the Cretto is today one of the largest and well known works of Land art (environmental art) in the world, and has preserved and amplified the story of this small Sicilian farming region. It was built in a first phase between 1984 and 1989 and then it’s been completed in 2015.
(Text: Info board)

7. Ghosthand @globalinternational_2020

10. Gibellina on the morning after the earthquake in the night of 14th January 1968 (ph. Giaramidaro)

#terremoto
#gibellina
#albertoburri
#crettodiburri

Il Grande Cretto di Gibellina
Alberto Burri
1984-1989/2015

Finally visiting this incredible place and walking the empty roads during a rainy afternoon.
❤️
Spanning 300 x 300 meter, the Grande Cretto by Alberto Burri (Città di Castello, 1915 - Nice, 1995) covers the ruins of the city of Gibellina which was destroyed during the night between 14th and 15th January 1968 with huge blocks of white cement.
The work echoes in part the road network of the city, to preserve its memory for future generations, and sits in the landscape like a grand set design relating to the natural surroundings and in recognition of
Segesta and Selinunte monuments which inspired Burri’s work. Defined by Ludovico Corrao (the post-earthquake mayor who commissioned its creation, after the 1970 appeal to artists) as a polysemantic, symbolic, dreamlike, socially aware work, the Cretto is today one of the largest and well known works of Land art (environmental art) in the world, and has preserved and amplified the story of this small Sicilian farming region. It was built in a first phase between 1984 and 1989 and then it’s been completed in 2015.
(Text: Info board)

7. Ghosthand @globalinternational_2020

10. Gibellina on the morning after the earthquake in the night of 14th January 1968 (ph. Giaramidaro)

#terremoto
#gibellina
#albertoburri
#crettodiburri

Il Grande Cretto di Gibellina
Alberto Burri
1984-1989/2015

Finally visiting this incredible place and walking the empty roads during a rainy afternoon.
❤️
Spanning 300 x 300 meter, the Grande Cretto by Alberto Burri (Città di Castello, 1915 - Nice, 1995) covers the ruins of the city of Gibellina which was destroyed during the night between 14th and 15th January 1968 with huge blocks of white cement.
The work echoes in part the road network of the city, to preserve its memory for future generations, and sits in the landscape like a grand set design relating to the natural surroundings and in recognition of
Segesta and Selinunte monuments which inspired Burri’s work. Defined by Ludovico Corrao (the post-earthquake mayor who commissioned its creation, after the 1970 appeal to artists) as a polysemantic, symbolic, dreamlike, socially aware work, the Cretto is today one of the largest and well known works of Land art (environmental art) in the world, and has preserved and amplified the story of this small Sicilian farming region. It was built in a first phase between 1984 and 1989 and then it’s been completed in 2015.
(Text: Info board)

7. Ghosthand @globalinternational_2020

10. Gibellina on the morning after the earthquake in the night of 14th January 1968 (ph. Giaramidaro)

#terremoto
#gibellina
#albertoburri
#crettodiburri

Il Grande Cretto di Gibellina
Alberto Burri
1984-1989/2015

Finally visiting this incredible place and walking the empty roads during a rainy afternoon.
❤️
Spanning 300 x 300 meter, the Grande Cretto by Alberto Burri (Città di Castello, 1915 - Nice, 1995) covers the ruins of the city of Gibellina which was destroyed during the night between 14th and 15th January 1968 with huge blocks of white cement.
The work echoes in part the road network of the city, to preserve its memory for future generations, and sits in the landscape like a grand set design relating to the natural surroundings and in recognition of
Segesta and Selinunte monuments which inspired Burri’s work. Defined by Ludovico Corrao (the post-earthquake mayor who commissioned its creation, after the 1970 appeal to artists) as a polysemantic, symbolic, dreamlike, socially aware work, the Cretto is today one of the largest and well known works of Land art (environmental art) in the world, and has preserved and amplified the story of this small Sicilian farming region. It was built in a first phase between 1984 and 1989 and then it’s been completed in 2015.
(Text: Info board)

7. Ghosthand @globalinternational_2020

10. Gibellina on the morning after the earthquake in the night of 14th January 1968 (ph. Giaramidaro)

#terremoto
#gibellina
#albertoburri
#crettodiburri

Triumph of Death, 1440s‘
Palazzo Abatellis, Palermo
❤️
Unknown artist of French-Flemish School of painting.
This fresco was executed on the southern wall of the inner courtyard of the late 14th - 15‘ century Palazzo Sclafani. Early in the 15“ century this building was converted into a „great new hospital“, by King Alfonso il Magnanimo. In the 1940s‘, owing to the heavy bombings, the fresco was taken out with part of the original masonry. It was placed on a stand on wheels and brought to a safer place.
When, in 1954 Carlo Scarpa replanned the Palazzo Abatellis, he made the Triumph of death the focal point of the objects on display.
Placed on the farthest wall of the presbytery of the original church, the fresco is visible both from below and from above, so that many significant details can be appreciated. From the upper floor where the complexity of the whole subject is unified by the central ghastly figure of Death riding a skeletal horse, the viewer can thoroughly enjoy its dramatic impact.
(Exhibition text)

#palazzoabatellis
#scarpa
#palermo
#sicily

Triumph of Death, 1440s‘
Palazzo Abatellis, Palermo
❤️
Unknown artist of French-Flemish School of painting.
This fresco was executed on the southern wall of the inner courtyard of the late 14th - 15‘ century Palazzo Sclafani. Early in the 15“ century this building was converted into a „great new hospital“, by King Alfonso il Magnanimo. In the 1940s‘, owing to the heavy bombings, the fresco was taken out with part of the original masonry. It was placed on a stand on wheels and brought to a safer place.
When, in 1954 Carlo Scarpa replanned the Palazzo Abatellis, he made the Triumph of death the focal point of the objects on display.
Placed on the farthest wall of the presbytery of the original church, the fresco is visible both from below and from above, so that many significant details can be appreciated. From the upper floor where the complexity of the whole subject is unified by the central ghastly figure of Death riding a skeletal horse, the viewer can thoroughly enjoy its dramatic impact.
(Exhibition text)

#palazzoabatellis
#scarpa
#palermo
#sicily

Triumph of Death, 1440s‘
Palazzo Abatellis, Palermo
❤️
Unknown artist of French-Flemish School of painting.
This fresco was executed on the southern wall of the inner courtyard of the late 14th - 15‘ century Palazzo Sclafani. Early in the 15“ century this building was converted into a „great new hospital“, by King Alfonso il Magnanimo. In the 1940s‘, owing to the heavy bombings, the fresco was taken out with part of the original masonry. It was placed on a stand on wheels and brought to a safer place.
When, in 1954 Carlo Scarpa replanned the Palazzo Abatellis, he made the Triumph of death the focal point of the objects on display.
Placed on the farthest wall of the presbytery of the original church, the fresco is visible both from below and from above, so that many significant details can be appreciated. From the upper floor where the complexity of the whole subject is unified by the central ghastly figure of Death riding a skeletal horse, the viewer can thoroughly enjoy its dramatic impact.
(Exhibition text)

#palazzoabatellis
#scarpa
#palermo
#sicily

Triumph of Death, 1440s‘
Palazzo Abatellis, Palermo
❤️
Unknown artist of French-Flemish School of painting.
This fresco was executed on the southern wall of the inner courtyard of the late 14th - 15‘ century Palazzo Sclafani. Early in the 15“ century this building was converted into a „great new hospital“, by King Alfonso il Magnanimo. In the 1940s‘, owing to the heavy bombings, the fresco was taken out with part of the original masonry. It was placed on a stand on wheels and brought to a safer place.
When, in 1954 Carlo Scarpa replanned the Palazzo Abatellis, he made the Triumph of death the focal point of the objects on display.
Placed on the farthest wall of the presbytery of the original church, the fresco is visible both from below and from above, so that many significant details can be appreciated. From the upper floor where the complexity of the whole subject is unified by the central ghastly figure of Death riding a skeletal horse, the viewer can thoroughly enjoy its dramatic impact.
(Exhibition text)

#palazzoabatellis
#scarpa
#palermo
#sicily

Triumph of Death, 1440s‘
Palazzo Abatellis, Palermo
❤️
Unknown artist of French-Flemish School of painting.
This fresco was executed on the southern wall of the inner courtyard of the late 14th - 15‘ century Palazzo Sclafani. Early in the 15“ century this building was converted into a „great new hospital“, by King Alfonso il Magnanimo. In the 1940s‘, owing to the heavy bombings, the fresco was taken out with part of the original masonry. It was placed on a stand on wheels and brought to a safer place.
When, in 1954 Carlo Scarpa replanned the Palazzo Abatellis, he made the Triumph of death the focal point of the objects on display.
Placed on the farthest wall of the presbytery of the original church, the fresco is visible both from below and from above, so that many significant details can be appreciated. From the upper floor where the complexity of the whole subject is unified by the central ghastly figure of Death riding a skeletal horse, the viewer can thoroughly enjoy its dramatic impact.
(Exhibition text)

#palazzoabatellis
#scarpa
#palermo
#sicily

Triumph of Death, 1440s‘
Palazzo Abatellis, Palermo
❤️
Unknown artist of French-Flemish School of painting.
This fresco was executed on the southern wall of the inner courtyard of the late 14th - 15‘ century Palazzo Sclafani. Early in the 15“ century this building was converted into a „great new hospital“, by King Alfonso il Magnanimo. In the 1940s‘, owing to the heavy bombings, the fresco was taken out with part of the original masonry. It was placed on a stand on wheels and brought to a safer place.
When, in 1954 Carlo Scarpa replanned the Palazzo Abatellis, he made the Triumph of death the focal point of the objects on display.
Placed on the farthest wall of the presbytery of the original church, the fresco is visible both from below and from above, so that many significant details can be appreciated. From the upper floor where the complexity of the whole subject is unified by the central ghastly figure of Death riding a skeletal horse, the viewer can thoroughly enjoy its dramatic impact.
(Exhibition text)

#palazzoabatellis
#scarpa
#palermo
#sicily

Triumph of Death, 1440s‘
Palazzo Abatellis, Palermo
❤️
Unknown artist of French-Flemish School of painting.
This fresco was executed on the southern wall of the inner courtyard of the late 14th - 15‘ century Palazzo Sclafani. Early in the 15“ century this building was converted into a „great new hospital“, by King Alfonso il Magnanimo. In the 1940s‘, owing to the heavy bombings, the fresco was taken out with part of the original masonry. It was placed on a stand on wheels and brought to a safer place.
When, in 1954 Carlo Scarpa replanned the Palazzo Abatellis, he made the Triumph of death the focal point of the objects on display.
Placed on the farthest wall of the presbytery of the original church, the fresco is visible both from below and from above, so that many significant details can be appreciated. From the upper floor where the complexity of the whole subject is unified by the central ghastly figure of Death riding a skeletal horse, the viewer can thoroughly enjoy its dramatic impact.
(Exhibition text)

#palazzoabatellis
#scarpa
#palermo
#sicily

Triumph of Death, 1440s‘
Palazzo Abatellis, Palermo
❤️
Unknown artist of French-Flemish School of painting.
This fresco was executed on the southern wall of the inner courtyard of the late 14th - 15‘ century Palazzo Sclafani. Early in the 15“ century this building was converted into a „great new hospital“, by King Alfonso il Magnanimo. In the 1940s‘, owing to the heavy bombings, the fresco was taken out with part of the original masonry. It was placed on a stand on wheels and brought to a safer place.
When, in 1954 Carlo Scarpa replanned the Palazzo Abatellis, he made the Triumph of death the focal point of the objects on display.
Placed on the farthest wall of the presbytery of the original church, the fresco is visible both from below and from above, so that many significant details can be appreciated. From the upper floor where the complexity of the whole subject is unified by the central ghastly figure of Death riding a skeletal horse, the viewer can thoroughly enjoy its dramatic impact.
(Exhibition text)

#palazzoabatellis
#scarpa
#palermo
#sicily

Triumph of Death, 1440s‘
Palazzo Abatellis, Palermo
❤️
Unknown artist of French-Flemish School of painting.
This fresco was executed on the southern wall of the inner courtyard of the late 14th - 15‘ century Palazzo Sclafani. Early in the 15“ century this building was converted into a „great new hospital“, by King Alfonso il Magnanimo. In the 1940s‘, owing to the heavy bombings, the fresco was taken out with part of the original masonry. It was placed on a stand on wheels and brought to a safer place.
When, in 1954 Carlo Scarpa replanned the Palazzo Abatellis, he made the Triumph of death the focal point of the objects on display.
Placed on the farthest wall of the presbytery of the original church, the fresco is visible both from below and from above, so that many significant details can be appreciated. From the upper floor where the complexity of the whole subject is unified by the central ghastly figure of Death riding a skeletal horse, the viewer can thoroughly enjoy its dramatic impact.
(Exhibition text)

#palazzoabatellis
#scarpa
#palermo
#sicily

Triumph of Death, 1440s‘
Palazzo Abatellis, Palermo
❤️
Unknown artist of French-Flemish School of painting.
This fresco was executed on the southern wall of the inner courtyard of the late 14th - 15‘ century Palazzo Sclafani. Early in the 15“ century this building was converted into a „great new hospital“, by King Alfonso il Magnanimo. In the 1940s‘, owing to the heavy bombings, the fresco was taken out with part of the original masonry. It was placed on a stand on wheels and brought to a safer place.
When, in 1954 Carlo Scarpa replanned the Palazzo Abatellis, he made the Triumph of death the focal point of the objects on display.
Placed on the farthest wall of the presbytery of the original church, the fresco is visible both from below and from above, so that many significant details can be appreciated. From the upper floor where the complexity of the whole subject is unified by the central ghastly figure of Death riding a skeletal horse, the viewer can thoroughly enjoy its dramatic impact.
(Exhibition text)

#palazzoabatellis
#scarpa
#palermo
#sicily

Wintertime with Trees and Logs

Wintertime with Trees and Logs

Wintertime with Trees and Logs

Wintertime with Trees and Logs

Wintertime with Trees and Logs

Wintertime with Trees and Logs

Wintertime with Trees and Logs

Wintertime with Trees and Logs

Wintertime with Trees and Logs

Wintertime with Trees and Logs

Some of my favorite records from 2025
(in alphabetical order)

Autor - Kommen und Gehen
Big Thief - Double Infinity
DJ Koze - Music Can Hear Us
Doechii - Alligator Bites Never Heal
Die Heiterkeit - Schwarze Magie
John Maus - Later than You Think
Naked Lunch - Lights And A Silght Taste Of Death
The New Eves - The New Eve Is Rising
Jeb Loy Nichols - The house is empty without you
Pauls Jets - Morgen sind wir fantasy
Rosalia - Lux
Vereter - Ihr seit alle

❤️ Happy New Year ❤️

@substance_recordstore
@raveuprecordsvienna
@sissysound
@altneu.recordstore

Some of my favorite records from 2025
(in alphabetical order)

Autor - Kommen und Gehen
Big Thief - Double Infinity
DJ Koze - Music Can Hear Us
Doechii - Alligator Bites Never Heal
Die Heiterkeit - Schwarze Magie
John Maus - Later than You Think
Naked Lunch - Lights And A Silght Taste Of Death
The New Eves - The New Eve Is Rising
Jeb Loy Nichols - The house is empty without you
Pauls Jets - Morgen sind wir fantasy
Rosalia - Lux
Vereter - Ihr seit alle

❤️ Happy New Year ❤️

@substance_recordstore
@raveuprecordsvienna
@sissysound
@altneu.recordstore

Some of my favorite records from 2025
(in alphabetical order)

Autor - Kommen und Gehen
Big Thief - Double Infinity
DJ Koze - Music Can Hear Us
Doechii - Alligator Bites Never Heal
Die Heiterkeit - Schwarze Magie
John Maus - Later than You Think
Naked Lunch - Lights And A Silght Taste Of Death
The New Eves - The New Eve Is Rising
Jeb Loy Nichols - The house is empty without you
Pauls Jets - Morgen sind wir fantasy
Rosalia - Lux
Vereter - Ihr seit alle

❤️ Happy New Year ❤️

@substance_recordstore
@raveuprecordsvienna
@sissysound
@altneu.recordstore

Some of my favorite records from 2025
(in alphabetical order)

Autor - Kommen und Gehen
Big Thief - Double Infinity
DJ Koze - Music Can Hear Us
Doechii - Alligator Bites Never Heal
Die Heiterkeit - Schwarze Magie
John Maus - Later than You Think
Naked Lunch - Lights And A Silght Taste Of Death
The New Eves - The New Eve Is Rising
Jeb Loy Nichols - The house is empty without you
Pauls Jets - Morgen sind wir fantasy
Rosalia - Lux
Vereter - Ihr seit alle

❤️ Happy New Year ❤️

@substance_recordstore
@raveuprecordsvienna
@sissysound
@altneu.recordstore

Nur weil ich Paranoia habe heisst das noch lange nicht dass mich niemand verfolgt
(Just because I’m paranoid doesn’t mean nobody’s following me)
2000
Galerie Luis Campaña, Cologne

Verfolger, 2000
250 x 235 x 40 cm
Shelf, photograph, wood,  lacquer, mirror, fluorescent lamp, glass

Das Wissen vom Ende der Nacht, 2000
each 300 x 450 cm
Printed Velvet

Loch, 1999/2000
Video, 6 min 10 sek

Aus der Serie: Ich weiß mir keinen Helfer (Campaña), 2000
Leather shoes

Anderer Versuch über den Grenzwert, 2000
115 x 78 x 205 cm
Wood
 
Installationshots: Bernhard Schaub

#GalerieCampana
#Paranoia
#Forest
#Hole
#Digging

Nur weil ich Paranoia habe heisst das noch lange nicht dass mich niemand verfolgt
(Just because I’m paranoid doesn’t mean nobody’s following me)
2000
Galerie Luis Campaña, Cologne

Verfolger, 2000
250 x 235 x 40 cm
Shelf, photograph, wood,  lacquer, mirror, fluorescent lamp, glass

Das Wissen vom Ende der Nacht, 2000
each 300 x 450 cm
Printed Velvet

Loch, 1999/2000
Video, 6 min 10 sek

Aus der Serie: Ich weiß mir keinen Helfer (Campaña), 2000
Leather shoes

Anderer Versuch über den Grenzwert, 2000
115 x 78 x 205 cm
Wood
 
Installationshots: Bernhard Schaub

#GalerieCampana
#Paranoia
#Forest
#Hole
#Digging

Nur weil ich Paranoia habe heisst das noch lange nicht dass mich niemand verfolgt
(Just because I’m paranoid doesn’t mean nobody’s following me)
2000
Galerie Luis Campaña, Cologne

Verfolger, 2000
250 x 235 x 40 cm
Shelf, photograph, wood,  lacquer, mirror, fluorescent lamp, glass

Das Wissen vom Ende der Nacht, 2000
each 300 x 450 cm
Printed Velvet

Loch, 1999/2000
Video, 6 min 10 sek

Aus der Serie: Ich weiß mir keinen Helfer (Campaña), 2000
Leather shoes

Anderer Versuch über den Grenzwert, 2000
115 x 78 x 205 cm
Wood
 
Installationshots: Bernhard Schaub

#GalerieCampana
#Paranoia
#Forest
#Hole
#Digging

Nur weil ich Paranoia habe heisst das noch lange nicht dass mich niemand verfolgt
(Just because I’m paranoid doesn’t mean nobody’s following me)
2000
Galerie Luis Campaña, Cologne

Verfolger, 2000
250 x 235 x 40 cm
Shelf, photograph, wood,  lacquer, mirror, fluorescent lamp, glass

Das Wissen vom Ende der Nacht, 2000
each 300 x 450 cm
Printed Velvet

Loch, 1999/2000
Video, 6 min 10 sek

Aus der Serie: Ich weiß mir keinen Helfer (Campaña), 2000
Leather shoes

Anderer Versuch über den Grenzwert, 2000
115 x 78 x 205 cm
Wood
 
Installationshots: Bernhard Schaub

#GalerieCampana
#Paranoia
#Forest
#Hole
#Digging

Nur weil ich Paranoia habe heisst das noch lange nicht dass mich niemand verfolgt
(Just because I’m paranoid doesn’t mean nobody’s following me)
2000
Galerie Luis Campaña, Cologne

Verfolger, 2000
250 x 235 x 40 cm
Shelf, photograph, wood,  lacquer, mirror, fluorescent lamp, glass

Das Wissen vom Ende der Nacht, 2000
each 300 x 450 cm
Printed Velvet

Loch, 1999/2000
Video, 6 min 10 sek

Aus der Serie: Ich weiß mir keinen Helfer (Campaña), 2000
Leather shoes

Anderer Versuch über den Grenzwert, 2000
115 x 78 x 205 cm
Wood
 
Installationshots: Bernhard Schaub

#GalerieCampana
#Paranoia
#Forest
#Hole
#Digging

Nur weil ich Paranoia habe heisst das noch lange nicht dass mich niemand verfolgt
(Just because I’m paranoid doesn’t mean nobody’s following me)
2000
Galerie Luis Campaña, Cologne

Verfolger, 2000
250 x 235 x 40 cm
Shelf, photograph, wood,  lacquer, mirror, fluorescent lamp, glass

Das Wissen vom Ende der Nacht, 2000
each 300 x 450 cm
Printed Velvet

Loch, 1999/2000
Video, 6 min 10 sek

Aus der Serie: Ich weiß mir keinen Helfer (Campaña), 2000
Leather shoes

Anderer Versuch über den Grenzwert, 2000
115 x 78 x 205 cm
Wood
 
Installationshots: Bernhard Schaub

#GalerieCampana
#Paranoia
#Forest
#Hole
#Digging

Nur weil ich Paranoia habe heisst das noch lange nicht dass mich niemand verfolgt
(Just because I’m paranoid doesn’t mean nobody’s following me)
2000
Galerie Luis Campaña, Cologne

Verfolger, 2000
250 x 235 x 40 cm
Shelf, photograph, wood,  lacquer, mirror, fluorescent lamp, glass

Das Wissen vom Ende der Nacht, 2000
each 300 x 450 cm
Printed Velvet

Loch, 1999/2000
Video, 6 min 10 sek

Aus der Serie: Ich weiß mir keinen Helfer (Campaña), 2000
Leather shoes

Anderer Versuch über den Grenzwert, 2000
115 x 78 x 205 cm
Wood
 
Installationshots: Bernhard Schaub

#GalerieCampana
#Paranoia
#Forest
#Hole
#Digging

Nur weil ich Paranoia habe heisst das noch lange nicht dass mich niemand verfolgt
(Just because I’m paranoid doesn’t mean nobody’s following me)
2000
Galerie Luis Campaña, Cologne

Verfolger, 2000
250 x 235 x 40 cm
Shelf, photograph, wood,  lacquer, mirror, fluorescent lamp, glass

Das Wissen vom Ende der Nacht, 2000
each 300 x 450 cm
Printed Velvet

Loch, 1999/2000
Video, 6 min 10 sek

Aus der Serie: Ich weiß mir keinen Helfer (Campaña), 2000
Leather shoes

Anderer Versuch über den Grenzwert, 2000
115 x 78 x 205 cm
Wood
 
Installationshots: Bernhard Schaub

#GalerieCampana
#Paranoia
#Forest
#Hole
#Digging

Nur weil ich Paranoia habe heisst das noch lange nicht dass mich niemand verfolgt
(Just because I’m paranoid doesn’t mean nobody’s following me)
2000
Galerie Luis Campaña, Cologne

Verfolger, 2000
250 x 235 x 40 cm
Shelf, photograph, wood,  lacquer, mirror, fluorescent lamp, glass

Das Wissen vom Ende der Nacht, 2000
each 300 x 450 cm
Printed Velvet

Loch, 1999/2000
Video, 6 min 10 sek

Aus der Serie: Ich weiß mir keinen Helfer (Campaña), 2000
Leather shoes

Anderer Versuch über den Grenzwert, 2000
115 x 78 x 205 cm
Wood
 
Installationshots: Bernhard Schaub

#GalerieCampana
#Paranoia
#Forest
#Hole
#Digging

Nur weil ich Paranoia habe heisst das noch lange nicht dass mich niemand verfolgt
(Just because I’m paranoid doesn’t mean nobody’s following me)
2000
Galerie Luis Campaña, Cologne

Verfolger, 2000
250 x 235 x 40 cm
Shelf, photograph, wood,  lacquer, mirror, fluorescent lamp, glass

Das Wissen vom Ende der Nacht, 2000
each 300 x 450 cm
Printed Velvet

Loch, 1999/2000
Video, 6 min 10 sek

Aus der Serie: Ich weiß mir keinen Helfer (Campaña), 2000
Leather shoes

Anderer Versuch über den Grenzwert, 2000
115 x 78 x 205 cm
Wood
 
Installationshots: Bernhard Schaub

#GalerieCampana
#Paranoia
#Forest
#Hole
#Digging

Hi, How Are You, 2025
Risograph print on paper
29,7 x 42 cm
Edition of 12

part of and made for:
PARCOURS D’ART EN VITRINES
outside {In local businesses across the Pays de Montbéliard and Héricourt}
13 October - 14 November 2025

@le19crac

In 2025, Le 19, Crac celebrates 30 years of exhibitions within its walls. To mark this milestone, the center is partnering with 10 local shopkeepers and Hérilab, the makerspace at the Héricourt media library, to present works by 11 artists who have played a key role in its history.
This autumn, discover 11 brand-new artworks created specially for the occasion and displayed in local shops—inviting you into a poetic and unexpected encounter with art.

#hihowareyou
#danieljohnston
#walkingthecow
#risograph
#kurtcobain

Hi, How Are You, 2025
Risograph print on paper
29,7 x 42 cm
Edition of 12

part of and made for:
PARCOURS D’ART EN VITRINES
outside {In local businesses across the Pays de Montbéliard and Héricourt}
13 October - 14 November 2025

@le19crac

In 2025, Le 19, Crac celebrates 30 years of exhibitions within its walls. To mark this milestone, the center is partnering with 10 local shopkeepers and Hérilab, the makerspace at the Héricourt media library, to present works by 11 artists who have played a key role in its history.
This autumn, discover 11 brand-new artworks created specially for the occasion and displayed in local shops—inviting you into a poetic and unexpected encounter with art.

#hihowareyou
#danieljohnston
#walkingthecow
#risograph
#kurtcobain

Hi, How Are You, 2025
Risograph print on paper
29,7 x 42 cm
Edition of 12

part of and made for:
PARCOURS D’ART EN VITRINES
outside {In local businesses across the Pays de Montbéliard and Héricourt}
13 October - 14 November 2025

@le19crac

In 2025, Le 19, Crac celebrates 30 years of exhibitions within its walls. To mark this milestone, the center is partnering with 10 local shopkeepers and Hérilab, the makerspace at the Héricourt media library, to present works by 11 artists who have played a key role in its history.
This autumn, discover 11 brand-new artworks created specially for the occasion and displayed in local shops—inviting you into a poetic and unexpected encounter with art.

#hihowareyou
#danieljohnston
#walkingthecow
#risograph
#kurtcobain

Hi, How Are You, 2025
Risograph print on paper
29,7 x 42 cm
Edition of 12

part of and made for:
PARCOURS D’ART EN VITRINES
outside {In local businesses across the Pays de Montbéliard and Héricourt}
13 October - 14 November 2025

@le19crac

In 2025, Le 19, Crac celebrates 30 years of exhibitions within its walls. To mark this milestone, the center is partnering with 10 local shopkeepers and Hérilab, the makerspace at the Héricourt media library, to present works by 11 artists who have played a key role in its history.
This autumn, discover 11 brand-new artworks created specially for the occasion and displayed in local shops—inviting you into a poetic and unexpected encounter with art.

#hihowareyou
#danieljohnston
#walkingthecow
#risograph
#kurtcobain

Hi, How Are You, 2025
Risograph print on paper
29,7 x 42 cm
Edition of 12

part of and made for:
PARCOURS D’ART EN VITRINES
outside {In local businesses across the Pays de Montbéliard and Héricourt}
13 October - 14 November 2025

@le19crac

In 2025, Le 19, Crac celebrates 30 years of exhibitions within its walls. To mark this milestone, the center is partnering with 10 local shopkeepers and Hérilab, the makerspace at the Héricourt media library, to present works by 11 artists who have played a key role in its history.
This autumn, discover 11 brand-new artworks created specially for the occasion and displayed in local shops—inviting you into a poetic and unexpected encounter with art.

#hihowareyou
#danieljohnston
#walkingthecow
#risograph
#kurtcobain

Atelier, 2000
Passagier, 2000

Throwback

part of:
I repeat myself when under stress, 2009
@mocadetroit
Installationshots: @corine_vermeulen
Curated by: @presenttense99 @thomas.d.trummer

Atelier, 2000
room height x 10,51 x 18,65 m
cabletray, railtracks, wire, clock, monitor, DVD-Player
collection: @iacvilleurbanne

Passagier, 2000
Video, 66 min 53 sec

#studio
#atelier
#floorplan
#detroit
#fordism#repetition
#motown
#publictransport
#passenger
#iggypop

Atelier, 2000
Passagier, 2000

Throwback

part of:
I repeat myself when under stress, 2009
@mocadetroit
Installationshots: @corine_vermeulen
Curated by: @presenttense99 @thomas.d.trummer

Atelier, 2000
room height x 10,51 x 18,65 m
cabletray, railtracks, wire, clock, monitor, DVD-Player
collection: @iacvilleurbanne

Passagier, 2000
Video, 66 min 53 sec

#studio
#atelier
#floorplan
#detroit
#fordism#repetition
#motown
#publictransport
#passenger
#iggypop

Atelier, 2000
Passagier, 2000

Throwback

part of:
I repeat myself when under stress, 2009
@mocadetroit
Installationshots: @corine_vermeulen
Curated by: @presenttense99 @thomas.d.trummer

Atelier, 2000
room height x 10,51 x 18,65 m
cabletray, railtracks, wire, clock, monitor, DVD-Player
collection: @iacvilleurbanne

Passagier, 2000
Video, 66 min 53 sec

#studio
#atelier
#floorplan
#detroit
#fordism#repetition
#motown
#publictransport
#passenger
#iggypop

Atelier, 2000
Passagier, 2000

Throwback

part of:
I repeat myself when under stress, 2009
@mocadetroit
Installationshots: @corine_vermeulen
Curated by: @presenttense99 @thomas.d.trummer

Atelier, 2000
room height x 10,51 x 18,65 m
cabletray, railtracks, wire, clock, monitor, DVD-Player
collection: @iacvilleurbanne

Passagier, 2000
Video, 66 min 53 sec

#studio
#atelier
#floorplan
#detroit
#fordism#repetition
#motown
#publictransport
#passenger
#iggypop

Atelier, 2000
Passagier, 2000

Throwback

part of:
I repeat myself when under stress, 2009
@mocadetroit
Installationshots: @corine_vermeulen
Curated by: @presenttense99 @thomas.d.trummer

Atelier, 2000
room height x 10,51 x 18,65 m
cabletray, railtracks, wire, clock, monitor, DVD-Player
collection: @iacvilleurbanne

Passagier, 2000
Video, 66 min 53 sec

#studio
#atelier
#floorplan
#detroit
#fordism#repetition
#motown
#publictransport
#passenger
#iggypop

Atelier, 2000
Passagier, 2000

Throwback

part of:
I repeat myself when under stress, 2009
@mocadetroit
Installationshots: @corine_vermeulen
Curated by: @presenttense99 @thomas.d.trummer

Atelier, 2000
room height x 10,51 x 18,65 m
cabletray, railtracks, wire, clock, monitor, DVD-Player
collection: @iacvilleurbanne

Passagier, 2000
Video, 66 min 53 sec

#studio
#atelier
#floorplan
#detroit
#fordism#repetition
#motown
#publictransport
#passenger
#iggypop

Atelier, 2000
Passagier, 2000

Throwback

part of:
I repeat myself when under stress, 2009
@mocadetroit
Installationshots: @corine_vermeulen
Curated by: @presenttense99 @thomas.d.trummer

Atelier, 2000
room height x 10,51 x 18,65 m
cabletray, railtracks, wire, clock, monitor, DVD-Player
collection: @iacvilleurbanne

Passagier, 2000
Video, 66 min 53 sec

#studio
#atelier
#floorplan
#detroit
#fordism#repetition
#motown
#publictransport
#passenger
#iggypop

Atelier, 2000
Passagier, 2000

Throwback

part of:
I repeat myself when under stress, 2009
@mocadetroit
Installationshots: @corine_vermeulen
Curated by: @presenttense99 @thomas.d.trummer

Atelier, 2000
room height x 10,51 x 18,65 m
cabletray, railtracks, wire, clock, monitor, DVD-Player
collection: @iacvilleurbanne

Passagier, 2000
Video, 66 min 53 sec

#studio
#atelier
#floorplan
#detroit
#fordism#repetition
#motown
#publictransport
#passenger
#iggypop

Atelier, 2000
Passagier, 2000

Throwback

part of:
I repeat myself when under stress, 2009
@mocadetroit
Installationshots: @corine_vermeulen
Curated by: @presenttense99 @thomas.d.trummer

Atelier, 2000
room height x 10,51 x 18,65 m
cabletray, railtracks, wire, clock, monitor, DVD-Player
collection: @iacvilleurbanne

Passagier, 2000
Video, 66 min 53 sec

#studio
#atelier
#floorplan
#detroit
#fordism#repetition
#motown
#publictransport
#passenger
#iggypop

Atelier, 2000
Passagier, 2000

Throwback

part of:
I repeat myself when under stress, 2009
@mocadetroit
Installationshots: @corine_vermeulen
Curated by: @presenttense99 @thomas.d.trummer

Atelier, 2000
room height x 10,51 x 18,65 m
cabletray, railtracks, wire, clock, monitor, DVD-Player
collection: @iacvilleurbanne

Passagier, 2000
Video, 66 min 53 sec

#studio
#atelier
#floorplan
#detroit
#fordism#repetition
#motown
#publictransport
#passenger
#iggypop