Nicoll Ullrich

contact_at_nicollullrich.com

Living in Berlin. Before, studying at Academy of Fine Arts Dresden, Amsterdam and Prague.

Exhibitions at de fabriek Eindhoven, modul Dresden, centrum Berlin, Kunstraum Kreuzberg, OZEAN BerlinRicou Gallery Brussels, SOX Berlin and more.

Currently working in interdiciplinary projects as Art Director/Conceptional Designer, interested in intermedia collaborations.




«Ullrich’s current work is now predominantly sculptural with an overriding interest in raw materials. ... Amid the heady visual medley of material plenitude and contrasts, Ullrich’s priority, she explains, is to focus attention on the material per se – its textures, its density, its most integral matter, as disassociated from its conventional usage or forms. She uses the example of bone to explain her concept. When we think of bones, we tend to envisage a linear form, an outline, a cartoonish skeleton perhaps, but these automatic structural analogies divert attention from the substance itself. Ullrich subverts the associations of material, therefore, to allow us to consider the material itself.»

(from http://www.thisistomorrow.info, exhibition in centrum Berlin, 2010)


news

What is the subject of natural experience and how can we explain a subject or imagine it without seeing...?

The white project with collaboration with Deutscher Blinden- und Sehbehindertenverband e.V.. It is realized by events, talks and workshops around materials in nature and art.

More information coming soon.

the white project
appropriation

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.

Y.Oyama
appropriation

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.

M. Holding
appropriation

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.

Tal R
appropriation

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 Curators
installation

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.

installation

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.

installation

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.

installation

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.

installation

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.

[‘riːmɪks] – C. Oldenburg
installation

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.

[‘riːmɪks] – G. Galilei
installation

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.

[‘riːmɪks] – C. D. Friedrich
installation

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.

[‘riːmɪks] – T. Brinkmann
installation

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.

[‘riːmɪks] – R. Gander
participation

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.

ICCD - with Young Joo Cho
vademecum
my vademecum
drawing
body ▼
drawing
body
drawing
structure
drawing
structure
photo
mikado
photo