Nicoll Ullrich

BlindNature 2018

Erfahrungsaustausch zwischen den unterschiedlichen Sinnesausprägungen, mit der Vision bestehende Hierarchien zu hinterfragen und neu zusammen zusetzen. 

Alle Infos zu dem Projekt unter www.sinnsinn.com

The installations "appropriation" are taken out of a studio archive, adapted graphically and then evolved in situ.

The appropriation work is the beginning of the [ˈriːmɪks] - installations and using of raw material is the focus again. But starting point for these installations/objects are photos of other studios or workspaces which are then put into a different context. The reproductions try in no way to be true to the original but show off their playful manipulation of realities, such as material and space.

The installations "appropriation" are taken out of a studio archive, adapted graphically and then evolved in situ.

The appropriation work is the beginning of the [ˈriːmɪks] - installations and using of raw material is the focus again. But starting point for these installations/objects are photos of other studios or workspaces which are then put into a different context. The reproductions try in no way to be true to the original but show off their playful manipulation of realities, such as material and space.

The installations "appropriation" are taken out of a studio archive, adapted graphically and then evolved in situ.

The appropriation work is the beginning of the [ˈriːmɪks] - installations and using of raw material is the focus again. But starting point for these installations/objects are photos of other studios or workspaces which are then put into a different context. The reproductions try in no way to be true to the original but show off their playful manipulation of realities, such as material and space.

The installations "appropriation" are taken out of a studio archive, adapted graphically and then evolved in situ.

The appropriation work is the beginning of the [ˈriːmɪks] - installations and using of raw material is the focus again. But starting point for these installations/objects are photos of other studios or workspaces which are then put into a different context. The reproductions try in no way to be true to the original but show off their playful manipulation of realities, such as material and space.

The installations are seemingly provisionary and site-specific accumulations of material, i.e. battens, frames, racks, g-clamps, pieces of carpeting and foils. While the studioworks emerged out of a continuous work in progress the "Fantomás" pieces are developed out of the interplay of materialities.

[‘ri:miks] is a series of works which engage with the appropriation and reinterpretation of artistic working processes which I have been developing since 2008. Studios or workshops are places where art is generated but not usually exhibited.
In [‘ri:miks] I reconstruct artists‘ studios from photographs that exist in the public realm. While doing so, I interpret and abstract the objects and materials, rearranging them. Specific elements taken from the photographs are combined with abstracted elements and materials and transformed into a site-related installation, which is created for the exhibition space. In another step, the process of remixing is taken even further in the deconstruction of the compiled group of materials. In an almost ceremonial act using coincidence I violently make the adapted studio situation collapse and thus intentionally deconstruct the previously comprised arrangement. See a documentation here. In a last interpreting step I arrange the collapsed materials once more. This exemplary outcome of the end product is supposed to represent a fluid, individual collusion of materials.
No material can be reduced to another; it evades each and every mediating, substituting role. It therefore continually remains fragmentary, changeable, and authentic only in relation to the context.

The installations are seemingly provisionary and site-specific accumulations of material, i.e. battens, frames, racks, g-clamps, pieces of carpeting and foils. While the studioworks emerged out of a continuous work in progress the "Fantomás" pieces are developed out of the interplay of materialities.

[‘ri:miks] is a series of works which engage with the appropriation and reinterpretation of artistic working processes which I have been developing since 2008. Studios or workshops are places where art is generated but not usually exhibited.
In [‘ri:miks] I reconstruct artists‘ studios from photographs that exist in the public realm. While doing so, I interpret and abstract the objects and materials, rearranging them. Specific elements taken from the photographs are combined with abstracted elements and materials and transformed into a site-related installation, which is created for the exhibition space. In another step, the process of remixing is taken even further in the deconstruction of the compiled group of materials. In an almost ceremonial act using coincidence I violently make the adapted studio situation collapse and thus intentionally deconstruct the previously comprised arrangement. See a documentation here. In a last interpreting step I arrange the collapsed materials once more. This exemplary outcome of the end product is supposed to represent a fluid, individual collusion of materials.
No material can be reduced to another; it evades each and every mediating, substituting role. It therefore continually remains fragmentary, changeable, and authentic only in relation to the context.

The installations are seemingly provisionary and site-specific accumulations of material, i.e. battens, frames, racks, g-clamps, pieces of carpeting and foils. While the studioworks emerged out of a continuous work in progress the "Fantomás" pieces are developed out of the interplay of materialities.

[‘ri:miks] is a series of works which engage with the appropriation and reinterpretation of artistic working processes which I have been developing since 2008. Studios or workshops are places where art is generated but not usually exhibited.
In [‘ri:miks] I reconstruct artists‘ studios from photographs that exist in the public realm. While doing so, I interpret and abstract the objects and materials, rearranging them. Specific elements taken from the photographs are combined with abstracted elements and materials and transformed into a site-related installation, which is created for the exhibition space. In another step, the process of remixing is taken even further in the deconstruction of the compiled group of materials. In an almost ceremonial act using coincidence I violently make the adapted studio situation collapse and thus intentionally deconstruct the previously comprised arrangement. See a documentation here. In a last interpreting step I arrange the collapsed materials once more. This exemplary outcome of the end product is supposed to represent a fluid, individual collusion of materials.
No material can be reduced to another; it evades each and every mediating, substituting role. It therefore continually remains fragmentary, changeable, and authentic only in relation to the context.

The installations are seemingly provisionary and site-specific accumulations of material, i.e. battens, frames, racks, g-clamps, pieces of carpeting and foils. While the studioworks emerged out of a continuous work in progress the "Fantomás" pieces are developed out of the interplay of materialities.

[‘ri:miks] is a series of works which engage with the appropriation and reinterpretation of artistic working processes which I have been developing since 2008. Studios or workshops are places where art is generated but not usually exhibited.
In [‘ri:miks] I reconstruct artists‘ studios from photographs that exist in the public realm. While doing so, I interpret and abstract the objects and materials, rearranging them. Specific elements taken from the photographs are combined with abstracted elements and materials and transformed into a site-related installation, which is created for the exhibition space. In another step, the process of remixing is taken even further in the deconstruction of the compiled group of materials. In an almost ceremonial act using coincidence I violently make the adapted studio situation collapse and thus intentionally deconstruct the previously comprised arrangement. See a documentation here. In a last interpreting step I arrange the collapsed materials once more. This exemplary outcome of the end product is supposed to represent a fluid, individual collusion of materials.
No material can be reduced to another; it evades each and every mediating, substituting role. It therefore continually remains fragmentary, changeable, and authentic only in relation to the context.

The installations are seemingly provisionary and site-specific accumulations of material, i.e. battens, frames, racks, g-clamps, pieces of carpeting and foils. While the studioworks emerged out of a continuous work in progress the "Fantomás" pieces are developed out of the interplay of materialities.

[‘ri:miks] is a series of works which engage with the appropriation and reinterpretation of artistic working processes which I have been developing since 2008. Studios or workshops are places where art is generated but not usually exhibited.
In [‘ri:miks] I reconstruct artists‘ studios from photographs that exist in the public realm. While doing so, I interpret and abstract the objects and materials, rearranging them. Specific elements taken from the photographs are combined with abstracted elements and materials and transformed into a site-related installation, which is created for the exhibition space. In another step, the process of remixing is taken even further in the deconstruction of the compiled group of materials. In an almost ceremonial act using coincidence I violently make the adapted studio situation collapse and thus intentionally deconstruct the previously comprised arrangement. See a documentation here. In a last interpreting step I arrange the collapsed materials once more. This exemplary outcome of the end product is supposed to represent a fluid, individual collusion of materials.
No material can be reduced to another; it evades each and every mediating, substituting role. It therefore continually remains fragmentary, changeable, and authentic only in relation to the context.

The installations are seemingly provisionary and site-specific accumulations of material, i.e. battens, frames, racks, g-clamps, pieces of carpeting and foils. While the studioworks emerged out of a continuous work in progress the "Fantomás" pieces are developed out of the interplay of materialities.

[‘ri:miks] is a series of works which engage with the appropriation and reinterpretation of artistic working processes which I have been developing since 2008. Studios or workshops are places where art is generated but not usually exhibited.
In [‘ri:miks] I reconstruct artists‘ studios from photographs that exist in the public realm. While doing so, I interpret and abstract the objects and materials, rearranging them. Specific elements taken from the photographs are combined with abstracted elements and materials and transformed into a site-related installation, which is created for the exhibition space. In another step, the process of remixing is taken even further in the deconstruction of the compiled group of materials. In an almost ceremonial act using coincidence I violently make the adapted studio situation collapse and thus intentionally deconstruct the previously comprised arrangement. See a documentation here. In a last interpreting step I arrange the collapsed materials once more. This exemplary outcome of the end product is supposed to represent a fluid, individual collusion of materials.
No material can be reduced to another; it evades each and every mediating, substituting role. It therefore continually remains fragmentary, changeable, and authentic only in relation to the context.

The installations are seemingly provisionary and site-specific accumulations of material, i.e. battens, frames, racks, g-clamps, pieces of carpeting and foils. While the studioworks emerged out of a continuous work in progress the "Fantomás" pieces are developed out of the interplay of materialities.

[‘ri:miks] is a series of works which engage with the appropriation and reinterpretation of artistic working processes which I have been developing since 2008. Studios or workshops are places where art is generated but not usually exhibited.
In [‘ri:miks] I reconstruct artists‘ studios from photographs that exist in the public realm. While doing so, I interpret and abstract the objects and materials, rearranging them. Specific elements taken from the photographs are combined with abstracted elements and materials and transformed into a site-related installation, which is created for the exhibition space. In another step, the process of remixing is taken even further in the deconstruction of the compiled group of materials. In an almost ceremonial act using coincidence I violently make the adapted studio situation collapse and thus intentionally deconstruct the previously comprised arrangement. See a documentation here. In a last interpreting step I arrange the collapsed materials once more. This exemplary outcome of the end product is supposed to represent a fluid, individual collusion of materials.
No material can be reduced to another; it evades each and every mediating, substituting role. It therefore continually remains fragmentary, changeable, and authentic only in relation to the context.

The installations are seemingly provisionary and site-specific accumulations of material, i.e. battens, frames, racks, g-clamps, pieces of carpeting and foils. While the studioworks emerged out of a continuous work in progress the "Fantomás" pieces are developed out of the interplay of materialities.

[‘ri:miks] is a series of works which engage with the appropriation and reinterpretation of artistic working processes which I have been developing since 2008. Studios or workshops are places where art is generated but not usually exhibited.
In [‘ri:miks] I reconstruct artists‘ studios from photographs that exist in the public realm. While doing so, I interpret and abstract the objects and materials, rearranging them. Specific elements taken from the photographs are combined with abstracted elements and materials and transformed into a site-related installation, which is created for the exhibition space. In another step, the process of remixing is taken even further in the deconstruction of the compiled group of materials. In an almost ceremonial act using coincidence I violently make the adapted studio situation collapse and thus intentionally deconstruct the previously comprised arrangement. See a documentation here. In a last interpreting step I arrange the collapsed materials once more. This exemplary outcome of the end product is supposed to represent a fluid, individual collusion of materials.
No material can be reduced to another; it evades each and every mediating, substituting role. It therefore continually remains fragmentary, changeable, and authentic only in relation to the context.

The installations are seemingly provisionary and site-specific accumulations of material, i.e. battens, frames, racks, g-clamps, pieces of carpeting and foils. While the studioworks emerged out of a continuous work in progress the "Fantomás" pieces are developed out of the interplay of materialities.

[‘ri:miks] is a series of works which engage with the appropriation and reinterpretation of artistic working processes which I have been developing since 2008. Studios or workshops are places where art is generated but not usually exhibited.
In [‘ri:miks] I reconstruct artists‘ studios from photographs that exist in the public realm. While doing so, I interpret and abstract the objects and materials, rearranging them. Specific elements taken from the photographs are combined with abstracted elements and materials and transformed into a site-related installation, which is created for the exhibition space. In another step, the process of remixing is taken even further in the deconstruction of the compiled group of materials. In an almost ceremonial act using coincidence I violently make the adapted studio situation collapse and thus intentionally deconstruct the previously comprised arrangement. See a documentation here. In a last interpreting step I arrange the collapsed materials once more. This exemplary outcome of the end product is supposed to represent a fluid, individual collusion of materials.
No material can be reduced to another; it evades each and every mediating, substituting role. It therefore continually remains fragmentary, changeable, and authentic only in relation to the context.

ICCD - performance was a collaboration with Young Joo Cho. 

For an exhibition named "Schnell & Schmutzig", organized by Lab-Montage in Markthalle 9 in Berlin. The performance was bar where we created pieces of fictional food related to the artworks which were exhibited.

More information is coming soon.

Go to my vademecum.