My favorite word is „NEIN“. According to my parents, this was my first word. „NEIN“ is liberating. „NEIN“ helps you getting shit done. „NEIN“ frees up time and energy to spend with things or people you love. In the mid-nineties, I joined a weird cult, mostly made up of people who say „NEIN“ quite a lot. This is their story. This is the interim result of a long term project, spanning about 20 years. With photographs by Flint Stelter, Sarah Kastrau, Denise Stelter, video still from recording by Torsten Heil, plus found footage. Featuring photographs of bands such as Hands Tied, Ten Yard Fight, Avail, Mainstrike, Zao. Including lyrics from bands such as Bane, Unity, Youth of Today. Photobook in newspaper format, 60 pages, limited edition of 20.
Rain drops and shipcontainers, tired faces and urban, faceless fatigue - seen through the windows of a hop on hop off city tour. A bus, the bus, a Sisyphus on the road, on a strange loop which end is its beginning. They don’t know where they’re going, they do not know what they want here. Photographs by Flint Stelter, edited by Wolfgang Zurborn, foreword by Alexander Kerlin. Limited edition of 25 copies, printed by Druckerei Kettler on 170 g PhoeniXmotion Xenon, bound in ruby red linen and hot foil stamped. This project was completed with support by the Ministry of Family, Youth, Culture and Sport of North Rhine-Westphalia.
Die Spiegelbarrikade
The „Regeldrama“, also known as the Doctrine classique, is a theatre standard for drama making during the French Classical period in the 17th century, which continued to be felt in the 19th century. The origin is much older: Poet and critic Horace also demanded a division of the drama into five acts, which is observed in this photographic series. Subject is a political protest against fascists in Dortmund, Germany in 2016.
Christian Bäcker
What might have happened if I hadn’t been handed that particular mixtape in 9th grade? Exploring roads not taken and the „darkest timeline“; by means of self portraits from a parallel universe.
In "negatives“ propaganda imagery of „ISIS“ / „Daesh“ is taken and transferred to a smaller, comparably meaningless conflict. The aim of the work is trauma processing by confrontation with the existence and effectiveness of the image language, facing the visual elements that trigger the memory, and at the same time criticizing the unfiltered release of war propaganda by media as clickbait or to increase print runs, as well as the thoughtless viral spread in social networks. The title is inspired by Zbigniew Libera's series "positives", in which, among others, Eddie Adams’ photo of the execution of a member of the vietnamese National Liberation Front is restaged as a positive, peaceful motive.
Die Show
Fall 2015. For a short time, Dortmund got to be the distribution point for regugees. Chartered trains, dubbed „trains of hope“, carried exhausted families into the train station where they were being applauded, just to be relocated again all across North Rhine-Westphalia. At the same time the Schauspiel Dortmund developed a format which coincidentally also dealt with a displaced person of some sort. Several weeks I accompanied the DIE SHOW, a production based on a screenplay from the 70ies – „Das Millionenspiel“, a story about a show contestant who is risking his life for the lowest motive you can think of – money. Phrases like „Willkommenskultur“, pictures of lifeless children on our shores, and the rise of newly organized rightwing parties were the driving force behind this project. The book in magazine format begins with an indispensable introduction by dramatic advisor Alexander Kerlin, followed by a photographic essay reflecting on the media circus around one so-called refugee crisis.
Deutsche Riesen
Günther never wanted to put on a uniform, that is until the Nazis made him look down a barrel and he was drawn against his will. After being stationed in the Netherlands, Günther shot himself in the foot – so he did not have to shoot at anyone else. Disabled after prolonged hospitalization he returned home, in his luggage something he did not know or have before: A „Flemish Giant“. According to the standard of the "Central Association of German Breed Rabbit Breeders" this giant rabbit must not weigh over 11.8 kg. Due to nazification this breed was renamed between 1937 and 1945 to „Deutscher Riese“ = „German Giant“, which never really interested Günther.
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