Installation as part of ALPHABET DES ANARCHISTISCHES AMATEURS, Steirischer Herbst, <rotor>, Graz, 2019
M for people: “Future inmates of coffins who can walk around for a while and do all sorts of jokes.” That is one of hundreds of definitions from the alphabet of the anarchist amateurs. Published in 2007 by the Grazian Germanist Beatrix Müller-Kampel, the volume collects “Aphorisms, Sentences and Reflections” from Herbert Müller-Guttenbrunn. From 1923 to 1929 he lived in Thoneben in the municipality of Semriach, north of Graz. His periodical publication Das Nebelhorn was published for the first time in these years. The exhibition connects his writings with the works of contemporary artists. It provides impulses for dealing with anarchism, which “wants to create a suitable social framework for the greatest possible individual freedom on the basis of radical democratic principles”, while at the same time “achieving the greatest possible equality and justice”, as can be read from the writer Ilija Trojanow.
At a time when nationalist narrowing and totalitarian tendencies are on the move again, this is more topical than ever.
Installation as part of the exhibition “Light, Air, Shit” at ngbk, Berlin 2019
Just as the future turns into heaped rubble after it has become the present, the utopian and progressive energies and resources of Eden’s last surviving life reform settlement itself are on the path of dwindling effectiveness and exhaustion.
Cartel Urbano 17/oct/2018 Causas
En la última edición del festival de cine comunitario y alternativo Ojo al Sancocho, un taller de arte se centró en problemáticas que afectan a esta localidad, como lo es el de las fronteras invisibles. A través del performance, la videoinstalación, la actuación y la escultura, la intención fue sembrar una semilla crítica en los participantes.
Sculptural performance, re-eden, Eden, Oranienburg, September 22, 2018
The performance deals with the current situation of the fruit orchard Eden, which has gradually lost a necessary future vision. It is an attempt to think of the changeability of the world from the top view of a dangling apple. It is a utopian who lingers on constellations that go beyond obstacles and blockades.
parade, workshops, performances, salons, installations, architecture, cooking and exhibtion – initiated by re:form e.v. and bankleer, 27. may – 23 sept. 2018, Eden, Oranienburg
125 years ago, 18 vegetarians in Oranienburg founded the oldest still existing settlement of the life reform movement. They called her Eden: like the Garden of Paradise.
sculptural performance, Kronprinzenpalais, 3. Herbstsalon of the Maxim Gorki Theater, Berlin, 11 – 26 November 2017
The characters WIR Europa, klein a, double ding and Rosa Luxemburg are talking to themselves, talking to each other or interacting directly with the visitors. They are stammering, shouting, carrying, chanting and chattering
sculptural performance in collaboration with patric catani, karachi biennale 2017, NJV school building, pakistan, 10.22. – 11.05.17
From the growl of the Milky Way a meteorite falls on the ground. A fragment from an unknown space in which we are clueless poking – crashes into the urban space of Karachi.
Installation and performance with Lina Krüger
studio im hochhaus, June 13 – August 23, 2017 with Dellbrügge & de Moll, Folke Koberling, Martin Kaltwasser, David Moises
With our work Dung Dung (decomposition), we reflect on the social current of utopians, nerds and sectarians that emerged at the end of the 19th century, when settlements, rural communities and colonies have started to be established.
23. bis 29. MaiCitizen Art Days 2016, in the former Stasi-Zentrale (stasi museum and NUK Ruschestr. 103-104) in Berlin-Lichtenberg
In cooperation with the musician and composer Paul Wolff and residents of the emergency shelter for refugees in the Ruschestraße 103/104, bankleers worked out the songs for the Tohubassbuuh.
Performance by bankleer. With Mehmet Ateşçi and Mareike Beykirch. Herbstsalon, Maxim Gorki Theater, Berlin, 2015
In the exhibition and during a performative walking tour of the city with their Tohubassbuuh, an oversized mobile megaphone, bankleer bring sounds and texts about fleeing and its reasons to collide with the present.
meltdown, Performance, bankleer featuring Oshin Sarisa and Friends, Doi Saket Stadium, Thailand, 22. March, 2015
A variety of crises keeps us in suspense: financial crisis, wars, global warming and diseases put us in a diffuse nervous condition with no orientation. Media flood our perceptions with complex, rapidly changing information, which we can not bring into relation with ourselves. A sense of state of emergency is spreading in our present.
Performance/Installation, 45 min, Spreetreppen am Reichstagsufer, im Rahmen der Ausstellung im Rahmen der Ausstellung The Pioneers Movement, District, Berlin, 2014
The piece Sleepy hollows (2013) locates the body at the center of the problem of understanding the destructive force of financial markets today.
Performance and Installation, Herbstsalon, Maxim Gorki Theater, Palais am Festungsgraben, Berlin, 2013
Relating to the past function of the exhibition space as the former residence of the Prussian ministry of finance, the artist duo bankleer questions the role of contemporary financial systems in shaping our lives. The larger-than-life heads of
Installation, Performance, Video (6.30 min), Dresden, 2011
The work relates to the paradox of an “upcoming” future that can not be represented in the present, and yet must take place in the here and now. Activist practices are extremely important in this context, to reflect the antagonism and the demand for a radical democracy.
10 part interview series with peace activists for the exhibition theater of peace, NGBK, Berlin 2010
Glenn Paige (born 1929) is an American political scientist living in Honolulu /Hawaii.
Glenn Paige introduced the term „nonkilling“ into the academic world, he published
the book „Nonkilling Global Political Science“, and launched the „Center for Global
Nonkilling“ in Honolulu.
where works ends and mission begins , with Heidi Mühlschlegel, video interviews and performance documentations in a counter-staging of the current illusion machine, Akademie Schloss Solitude, Stuttgart 2005 + Plattform Berlin 2005 + Les Complices Zürich 2005 + ZKM Karlsruhe 2008
Video interviews and performance documentations in an installative counter design for the current illusion machine –
video (9.30 min.) +installation, sound Goh Lee Kwang, Wilhelma Zoo, Stuttgart 2004 + oda projesi, Istanbul 2004 + Shedhalle, Zürich 2005 + Bethanien Berlin 2006 + ZKM, Karlsruhe 2008
The background of this piece are the constant calls for flexibilization and deregulation that are made in hopes of reviving the economy.
rotate! work simulation, performative installation and video (8.10 min.), Kunstbank, Berlin 2003
Video installation with foam and dough sculptures that draws attention to the increasing all-round pressure on the unemployed to return from the margins of the economy into the midst of society, in order to take on jobs that don’t even exist.
go for gemetzel, game installation and video (13.45 min.), Schauspielhaus Hamburg, 2003
A game situation inspired by the New Game movement is translated into current economic conditions. A sports presenter talks about the advance of economic power into bodies and about empowerment as a state strategy for stabilizing individual subjects in order to be able to expose them to an unsecured capitalism.
fit for flexploitation, performative installation and video (19 min.), Aktionsgalerie Lothringer 13, Munich 2002
fit for flexploitation addresses the alliance between business and fitness. Darwinist values, forms of training, terrorizing business lingo, and sports are linked up with a trainingcamp on the edge of an anti-globalisation summit. bankleer condenses and gives new meaning to fitness programs used by super-managers for career optimization purposes.
exhibition and panels, NGBK, Berlin, 2001
hybridvideotracks reflects the history of an alternative, leftist video-work and offers contemporary video and media projects as a platform for presenting new processes and findings. video should go beyond classical documentary styles in order to investigate video’s hybrid points of intersection with other media and implementations, as well as its ambivalent position between public and private.