09 November 2006

21:43 by sd: der introtext ist ok, bohemian lobotomy schlecht editiert im netz. aber sie haben die bavaria geklaut... und herr schmidtlein ist auf der frontpage... http://www.showstudio.com/projects/transmissions/

the rebel - band - ist da auch zu finden
... und die haben auch einen maskenball organisiert http://www.showstudio.com/projects/balmasque/gallery/

19 October 2006

20:59 by ian?: Dear Stephan

please share our thanks for your performance with all the other k2ao's! it was a real pleasure working with you, and the piece was great - i really appreciate all the work that went into it and its energy and experimentation. A properly great way to end the weekend!

apologies i never made it to the pub afterwards - we were de-installing until late after which i was covered in filth and not able to speak anymore!

i'm going to be in munich for one night only, to introduce the 2 films we're showing at the kunstverein on the evening of 31st october. maybe see you there?

all best Ian

christabel steward, die bessere h�lfte von HOTEL (ihr partner hat uns an der party abgewiesen..!) fragt etwas reum�tig an ob wir das video des auftritts noch auf der showstudio seite haben wollen --->

Marcus Werner Hed captured your event on Sunday and is working on compressing it. He will of course get the copy directly to you.

He was going to work on a shorted edit for me. After the insulting debacle on Saturday night for you and your collaborators I'd understand if you'd changed your mind. I'm really embarrassed it worked out this way. I wish someone had warned us in advance and we could have tried to avoid such a situation.

Hope you had a good stay otherwise."

... was meint ihr? / da ich nicht alle rueckfragen konnte habe ich mit fr schlechte und spiller zusammen beschlossen zu sagen dass es uns egal ist... dazu noch ein etwas spitzer ton....

hi christabel - we do not care whether or not you use use our material within the context of showstudio - but you should not use it outside of this webspace.

as for the party i thought it was by (or for) reena spaulings
as for the space i thought it was run by (former tillmanns) students
as for hotel further we suggest to dismiss ye olde receptionist and hire someone who is more knowledgeable about the art-worlds sensitive fabric.

i hope you are well!

17 October 2006

21:57 by sd: the rebel---> http://www.therebel.co.uk/

01 October 2006

16:39 by sd: what about allowing documentation of your piece?

Christabel Stewart has been in touch with me to ask about the possibilities of making some kind of video representation of all the performances happening in The Artists Cinema, as part of an ongoing series of postings on the showstudio website that she runs. The link is below.

I'm happy for her to cover the project, but obviously only with the artists' agreement. It's absolutely fine if you don't feel like this is appropriate, but could also be a nice thing if you do.

Frieze will employ a stills photographer who will take pictures during the piece (no flash), with your permission, but we otherwise have not planned to make a video documentation.

do let me know your thoughts so we can get organised!

all best Ian


  • Bilder evtl zum Einbau in den Film
  • auftritte haben kommentarcharakter, dies eher in kleingruppen . erst einmal verzichten wir auf einen MC der durchs programm f�hrt
  • vor dem Zelt k�nnte etwas (unscheinbares) passieren das sp�ter im film wieder auftaucht. zb jemand der flyer verteilt, oder buttons, oder bettelt. von Gauklerszenen, Marktschreier mit Megafonen, Saxofon, Stelzeng�nger (->krumping, ->gesellschaft des spektakels) sehen wir lieber ab
  • abwesenheit der bilder : benutzen des ersten debord films hurlements de sade, anfang zeigen, weiss und texte oder grummeln (verteilte rollen lesen) . wer bei schwarz rausgeht wird sofort interviewt und eingespeist.
  • ein trick von dan graham funktioniert auch gut mit der lichtprojektion: jemand tritt auf mit einem spiegel in der hand, der aber ins publikum weist und also das projektorlicht nun ins publikum (auf eine person) lenkt. derjenige mit dem spiegel in der hand beschreibt nun sich sellbst, zB: mein name ist gustav landauer, ich habe ein hageres gesicht und trage gerne schlapph�te, ich bin schriftsteller, philosoph und habe �ber ...
  • improvisationen / interviews auf der messe drehendie messe
  • Schlemmer Meta oder die Pantomime der �rter? 5 leute gehen vor gemaltem hintergrund, schilder k�nnen modifiziert werden . schilder in englisch.
  • freie liebe : eigelb szene? texte reventlow, wedekind, szene ayumi
  • lieder

-- vorw�rts und nicht vergessen (solidarit�tslied) hier der text in englisch http://www.poetryconnection.net/poets/Bertolt_Brecht/659 -- bolschewistenlied -- christine chanson

-- george gedichte -- toller masse mensch, dialog, frau

  • t�nze

-- hummeltanz, leute im film hummeln und die kollegen im kino hummeln // evtl vor h�hle

  • seance, kosmiker kugelsaal
  • tableaux vivantes, schattenspiel, puppenspiel als schatten
  • oktoberfest aufbau im morgengrauen, text von landauer / graf / fotos orig filmmat
  • synchronisation, stummfilm, musik

http://www.frankfurter-rundschau.de/in_und_ausland/kultur_und_medien/feuilleton/?em_cnt=955315 -- Die Gruppe arbeitet gern mit Voice over: Die Akteure auf der B�hne bewegen nur den Mund, und obwohl sie das erstaunlich passgenau tun, bleibt eine leichte Unsch�rfe - die ihnen wiederum eine zarte Comicfigur-Anmutung verleiht. Dazu kommen Wiederholungen, drei bis vier Mal wird eine Szene oft gespielt, und nicht immer erh�lt sie zuletzt doch noch eine neue Wendung. Hier wird quasi zur�ckgespult. Was das bringt? Die K�nstlichkeit ist so auf die Spitze getrieben, dass Klischees wie unterm Lichtspot sichtbar werden.

ian white schrieb einiges �ber die technischen details des zeltes. die idee mit dem fenster scheint doch etwas zu kompliziert...

  • the tent that the cinema is in is slightly different

to how we originally thought it would be - it is in a separate tent from the fair but it shares this very large tent with the shipper's office and all of the storage areas for works of art.

  • this means that 3 sides (the screen, one long wall

and the wall opposite the screen) of the cinema are internal walls (which will be made of MDF, painted dark grey)

  • the one long wall which is an 'external' wall is

also made from a double layer of MDF. then between this and the outside world there is the side of the tent - hard plastic, not fabric.

  • there is no view! the tent is positioned about 3.5m

away from another tent that houses the auditorium for the talks progamme. so even if there were a window in this long wall then you woul dhave a view of a white plastic tent wall. there may well also be equipment such as the machinery for the air conditioning in the outdoor space.

  • is it possible to make a window?

well, we would have to cut through the MDF panels. it is possible that these could be pre-cut which would allow you to remove them more easily somehow.

  • once the MDF was removed it reveals the wall of the

tent. we could arrange for this to consist of clear glazed panels rather than a slid plastic, so IN THEORY you could see the 'outside' by this method. but you will be very lucky if the view incorporates anyting green at all! i think though that there woul dbe enough room in the outside area for people to perform - obviously this would depend on what they were doing... and of course whether this is still appropriate.

  • we would have to improvise a screen (the wall will be

painted dark grey - the wall on which the official screen is will be entirely white with the fabric for the screen stretched over the whole length and height). we would also have to fix the video projector in a new position. i'm not sure how large the image could be projecting across the space in this way. as the performance is the last thing in the programme it would be possible to remove the video projector from the projection box and pllace it inside the auditorium - otherwise it might mean having to hire an additinal projector (though i need to check for definite on this, we may have more than one available)

  • the other thing is that at some point along this one

'external' wall are a double set of doors which are a fire exit. obviously these cannot be blocked. they do though open onto the outside world. whether or not it would be viable to turn the fire alarm off during your performance if you wanted to use these doors i'm not yet sure. thefair get checked really fastidiously by health and safety people and there is a special fire officer too, so it's not that easy operating beneath their radar. i can ask about this though if it's of interest to you.

  • i hope this is clear - it will be more so when you're

able to have a look at the floor plan. if you'd like me to call and discuss over the phone then please do let me know a good time.

  • please don't feel like i'm throwing up obstacles to

the window proposition - i'd love to see that happen, but there are really more practical hassles than i first thought there might be.

09:37 by Christine: Ich kann leider am Sonntag nicht kommen, und ich habe mich auch entschlossen, nicht auf die Klassenfahrt mitzufahren. Mir wird das gerade zuviel...


k2 Aufbau Organisation (feat k2ao & Stephan Dillemuth)

k2 Aufbau Organisation is an artists� collective from Munich. Founded in April 2005 they have been collaborating on artistic research projects since then. The group�s inquiry into recent changes in the idea of the public sphere takes place against the backdrop of our globalised, localised and fragmented playgrounds. Considering the impact of 'lifestyle' as a new ideology of self-fulfilment and liberation, k2 Aufbau Organisation has investigated the Munich Bohemia leading to the Munich soviet republic of 1918/19 and present a video/performance work derived from this.

At the turn of the 19th century, Munich had the most vigorously booming art market and was in competition with Paris for the coolest place to be a bohemian. Art Nouveau, the Cosmic Circle, Aesthetic Fundamentalism and a lively cabaret scene were the pus-filled pimples on the face of the empire of the day (the Wilhelminian Reich). Some of these activities were perhaps no more than cosmetic irritations, whilst others, purposely or otherwise, contributed to the venomous flow that poisoned most of the brains in Europe. And then, after the common man realised that carnage was no fun and militarism and nationalism went out of fashion in the autumn/winter season of 1918 � then it happened: a group of artists and intellectuals succeeded in introducing a homemade soviet republic - peacefully. So anarchy ruled for a few months � but eventually the bloodbath resumed and the rotting corpses of workers and artists, this time involuntarily, made Munich a fertile ground for more disasters to come.

Having looked at various ways in which new and sometimes fragile artistic ideas can be exploited, both today and back in the first half of the 20th century, it appears that the artist�s scope for action has always been extremely narrow. Questioning these phenomena, as well as pre-conceptions of the "new" in art, k2 Aufbau Organisation tries to explore the boundaries of the artist�s range of activity.

Bohemian Lobotomy is a special presentation of The Artists Cinema.

08 July 2006
13:13 by sd
ja, vielen dank! das ende ist auf jeden fall besser. f�r den anfang bin ich mir nicht sicher, denke es ist besser die autorenschaft "geheimnisvoller" zu halten anstatt gleich klarzumachen dass es sich um ein studentenprojekt handelt - was meinen die anderen dazu??
12:54 by dorothea
Hier zwei Vorschl�ge f�r Anfang und Ende:

Anstatt: k2 Aufbau Organisation is an artists collective from Munich. They were founded in April 2005 and since then they are collaborating on artistic research projects. - - - Inspired by Stefan Dillemuth k2 Aufbau Organisation serves as an attempt of a collective studying structur at the Academy of Fine Arts Munich.- -

..mass-market for himself. Danach evtl.: Having looked at various forms of exploitation of new and sometimes fragile artistic ideas, today and back than, it appears that the acting field of the artist has always been extremly narrow.Questioning these phenomenas and the preconception of the "new", the film tries to explore the boundaries of the artists acting field.

Ich wei� nicht ob ich damit auf der falschen Seite gelandet bin aber letzten endes geht es doch in unserem Seminar um die Rolle des K�nstlers und seinen Handlungsspielraum???????????????????

06 July 2006
09:37 by sd
hier ein vorschlag f�r nun den l�ngeren text, programmtext.

k2 Aufbau Organisation is an artists collective from Munich. They were founded in April 2005 and since then they are collaborating on artistic research projects. The groups inquiry into recent changes in the idea of the public sphere takes place against the backdrop of our globalised, localised and fragmented fairgrounds. Considering the impact of 'lifestyle' as a new ideology of self-fulfilment and liberation, k2 Aufbau Organisation has investigated the the Munich Bohemia leading to the Munich soviet republic in 1918/19. At the turn of the 19th to the 20th century Munich had the most booming art market and it was in competition with Paris for the coolest place to be a bohemian. Art Nouveau, the Cosmic Circle, Aesthetic Fundamentalism and a lively cabaret scene where the puss pimples in the face of the empire of the day (the Wilhelminian Reich). Cosmetic irritations, maybe, but not only symptoms because they were, voluntarily or not, contributing to the venomous flow that poisoned most of the brains in Europe. And then, after the common man had realised that carnages were no fun and militarism and nationalsm came out of fashion in the fall season of 1918, it happened: a group of artists and intellectuals succeeded in introducing a homemade soviet republic - peacefully. So anarchy ruled for a few months before the bloodbath continued. The rotting corpses of workers and artists, this time involuntarily, making Munich a fertile ground for more desasters to come: The watercolours of Adolf Hitler and how he created a mass-market for himself. This is not the story we want to tell, but rather, how to tell a story like this within the framework of a marked driven boom and bust economy - and how you have to fail if you believe the hype.


mit dem ende bin ich noch nicht froh... SD


18 June 2006
21:25 by sd
freut mich das feedback und man muss auch kritisch und kleinlich sein - stimmt ausweichend ist da manches und es w�re gut noch etwas konkreter zu feilen. vorschl�ge?? aber mediation=vermittlung wogegen meditation=meditation
17:06 by grete
wenns um mediation geht passts ja wieder(weitergeben /visualisieren) ,oder?

ich finde so 150 w�rter haben ihren Reiz-endlich diese Klarheit.

17 June 2006
17:49 by max und verena?
wir finden einige formulierungen im aufbau text etwas schwammig und ausweichend. im vergleich zum letzten satz der relativ konkret benennt was wir (als gruppe) eigentlich machen.
17:06 by max?
finde die texte auch recht gut, aber (zwecks kritisch und kleinlich sein) der satz im abschnitt k2ao �ber die malerische umsetzung die zur frage der meditation f�hrt hat f�r mich einen esotherischen anklang. meiner meinung nach f�hrt die aneignung und produktion von wissen bei der k�stlerischen umsetzung "hoffentlich" zu einer visualisierung dieser angeeigneten ideen meinungen oder ergebnissen. dieser prozess (bei der k�nstlerischen umsetzung) von assoziation, kombination usw. beinhaltet zwar eine form des "in-sich-kehrens" aber nicht wie die meiditation im religi�sen sinn oder mit dem ziel der verbesserung des einklangs mit dem eigenen "ich" oder "selbst", sondern ist meiner meinung nach ( im gegensatz zur meditation) vielmehr auf das aussch�tten (weitergeben oder visualisieren) gerichtet.

kurz f�r mich stellt sich eher die frage, was bei solchen prozessen der umsetzung wirklich passiert weil es f�r mich eben nicht medtation im eigentlich sinn ist.

15 June 2006
19:01 by dorothea
gute texte!
14:12 by sd
hi ian, please have a look at this and edit according to your taste - but please let me know your suggestions so i am able to share the text with the group...

-- > 1. Artists biographies. > This is for the purposes of press information (they will be printed in a press release that has to go out to the world next week). > It should be one paragraph of c. 150 words about you

As a visual artist stephan dillemuth is engaged with problems that result from changes in the idea of the public sphere as they are induced by processes of globalisation and regionalisation. is it possible to use artistic means, inquiry and research, to examine these changes and to establish new relationships between art and its public? Selforganisation can be unterstood as a form of acquisition and production of knowledge in regard to artistic and social selfdetermination. Academy (art-school) art, research and public are therefor no institutional entities, but they have to be seen as processes construced of commuication and collective production.

stephan dillemuth works and teaches as a visual artist in Munich. he has frequently collaborated with nils norman. he is a member of the artist collective k2 Aufbau Organisaton.

His publications include: AKADEMIE (ed 1995), The Academy and The Corporate Public (ed 2002), Corporate Rokoko (2033). More information is avalable at http://www.societyofcontrol.com

-151 words-

PLUS > one paragraph of c.150 words about the collective > If I can have this by the end of this week that would be good. -ian white-

k2 Aufbau Organisation is an artists collective from Munich. They were founded in April 2005 and since then they are collaborating on artistic research projects. Research is seen here as a tool for critical reflection on the circumstances of contemporary life. It is often based on a painterly practice which might also lead to questions of mediation and pedagogy. The groups inquiry into recent changes in the idea of the public sphere takes place against the backdrop of our globalised, localised and fragmented publics. Considering the impact of 'lifestyle' as a new ideology of self-fulfilment and liberation, k2 Aufbau Organisation has investigated the the Munich Bohemia at the turn of the 19th to the 20th century leading to the Munich soviet republic in 1918/19.

k2 Aufbau Organisation is: Petra Bagusch, Florian Baumgartner, Ruta Dressler, Stephan Dillemuth, Simone Gandler, Johannes Hlawon, Usija Hofmann, Nadja Kayser, Melinda Kiefer, Felix Lampadius, Ivan Mellauner, Daniel M�ller, Dorothea Reichenbacher, Lisa Schairer, Eva Schedlbauer, Judith Schenkirz, Verena Schlechte, Max Schmidtlein, Barbara Spiller, Melanie Teinzer, Grete Turtur, Xaver Weindl, Thomas Wiedemann, Oliver Winheim, Martin Zobel.

-180 words-

...feedback, lob kritik und schnoddringe bemerkungen sind durchaus erw�nscht! --> sd

10 June 2006
11:18 by sd
betreff titel (Bohemian Lobotomy) und name (k2 Aufbau Organisation) schreibt ian white:

the title is really great... the way it kind of rolld off of the tongue with those full 'o' sounds is just the ticket.

and yes, i think the authorship credit is absolutely fine. If we don't use the '(feat k2ao & SD)' tag then we will have to include your name in the text describing the project. So we can work this out as we go, over the next 2 weeks. I will need the 150 descriptive words by 23rd June at the latest. If you'd like to talk this through then let me know - my sense is that it should be possible to use just what you know already about subject matter and process to put something together.

the final thing to think about is whether you have an image that we might use to put on the flyer? min. 300dpi. Could be something found in your researches or taken specially... ?

frieze art fair :12 - 15 October 2006, Regent's Park, London, die messe �ffnet t�glich um 11 am

die messe findet in einem riesigen zelt im regents park statt. im letzten jahr nahmen �ber 160 "most exciting contemporary art galleries in the world" teil. das kino ist ein anbau an dieses zelt, also auch ein zelt, aber im sinne einer black box. der boden ist aus holz mit teppich drauf, es stehen stuhlreihen auf flachem boden, ca 100 sitzpl�tze. es gibt eine box f�r den vorf�hrer und die ger�te. es besteht die m�glichkeit eventuelle �nderungen einzuf�hren.

das kinoprogramm ist sehr komplex:

  • 6 kuratoren kuratieren je ein zeitgen�ssisches programm
  • 2-3 "life" projekte (unseres ist eines davon)
  • 1 historisches programm, das des londoner "expanded cinema" aus den 1960ern
  • Referenz zu Yoko Onos "instruction pieces" - sieht so aus dass diese instruction pieces vor bestimmten programmen verteilt werden
  • es ist auch eines der ziele die konventionen des kinos (kritisch) zu befragen (in frage zu stellen).

ziel insgesamt ist es das kino von einem blossen beiprogramm zu emanzipieren und ihm einen art festival charakter zu geben, so dass leute auch wegen, oder nur wegen des kinos kommen.

der hauptkurator des kinoprojektes, Ian White, braucht in ein paar wochen namen, titel und sp�ter dann so ne art inhaltsangabe oder worum es gehen soll, ohne allerdings viel vom film vorwegzunehmen.

eine erste besprechung w�re am kommenden montag im anschluss an das boheme seminar.

in hinblick auf die "aufgabenstellung film+perform hat ian white schon einen gewissen hintergrund. er schreibt:

"...in part the interest in these 'live' projects for The Artists Cinema are preceded by 3 film shows i curated at the Cine Lumiere here in London. Each combined short films by a different contemporary artist with historical work and some kind of intervention into the auditorium. The first with Mark Aerial Waller climaxed with his video Reversion of the Beast Folk in which the screen goes black for the last 5 mins and we hear some Brazilian voodoo chants and a light show takes place in the cinema, culminating with all of the blinds on the windows down one side of the room being raised automatically revealing a bank of floodlights pouring pink light into the room. In the second Jimmy Robert hid inside a big brown paper bag at the bottom of the stage/screen until 20mins into the programme when a spotlight came on and we heard him read some sentences from Proust's The Prisoner into a micrphone; then at the end of the programme he projected a super8 film onto his own back which the audience had to get onto the stage and face out into the empty auditorium to watch. the third was with Alice Anderson where we raised a fake paper 'curtain' around the screen, framing it like a pastiche, hand-painted theatre curtain.

Also, i made a performance work in 2004 with Jimmy Robert, in which we both physically performed, one part of which was performing Yvonne Rainer's 'Trio A' while Tate staff hung and took down again a drawing from their collection."


ein paar �berlegungen unseres ersten treffs:

publikum sitzt im kreis, an jeder der 4 w�nde eine projektion
instruction piece benutzen oder selber schreiben
das abbilden des verh�ltnisses film-zuschauer nur im film ohne life- oder performance-aspekte
2 handlungen (im film) (in der performance) laufen nebeneinander und verweben sich dann
interview situation : frage life - antwort film und umgekehrt
echtes fenster hinter der leinwand das irgendwann ge�ffnet wird und der film in der realit�t weiter geht (zt mit schauspielern bzw performance)
life auf der messe filmen - lifeschaltung zur halle
ein anderer schauplatz wird als "life auf der frieze" ausgegeben und vorproduziert, zb orte auf der art basel)

 das finden einer geeigneten vorlage:

valentin feuchtwanger brecht aus "der erfolg"
fassbinder: anarchie in bayern (leider schon mal benutzt) aber vielleicht ein aderes seiner fr�hen st�cke
ludwick tieck: "der gestiefelte kater" (publikum und b�hne sind eine einheit), "die verkehrte welt" (die b�hne auf der b�hne .. auf der b�hne), "prinz zerbino oder die reise nach dem guten geschmack" (absurdes theater)


dillemuth&die dilettanten
galerie dillemuth zeigt..
galerie fettsack
wie im film... zb bohemia-films, directed by ..., produced by.... etc die verschiedenen funktionen

 zu yoko ono "Instruction Pieces":

1955, zwei Jahre nach der �bersiedlung von Tokio nach New York, proklamiert die 22-j�hrige Studentin der zeitgen�ssischen Komposition und Poesie ihr erstes, sogenanntes, "Instruction piece": "Light a match and watch till it goes out" (Z�nde ein Streichholz an und schaue bis es erl�scht). Im 1966 gedrehten F�nfminuten-Video "Film No. 1 (Match)" ist die Instruktion umgesetzt, als Aufforderung an die Betrachtenden und von der Konzept-K�nstlerin als "Malerei" bezeichnet. Es ist in den 1960ern bereits eingekreist von zahlreichen weiteren Instruktions-St�cken. Dem "Beat-Piece" zum Beispiel: "Listen to a heart beat", oder dem "Painting for the wind": "Schneide ein Loch in einen mit Samen gef�llten Sack und stelle ihn dahin, wo der Wind zu kommt".