Annette Wehrmann, Luftschlangen @ KW

Annette Wehrmann, Luftschlangentexte
Berlin 2013, 80 Seiten
Edited by Starship and Ort des Gegen e.V.
ISSN 1619-2052
9,99 EUR


Annette Wehrmann: Luftschlangen
(Serpentine Streamers)
10 February – 11 March 18

KW Institute for Contemporary Art
Auguststraße 69, 10117 Berlin
3rd floor

Opening: 9 February 18, 7 pm


As part of the accompanying program for the exhibition Stepping Stairs by Judith Hopf an own space is dedicated to the Luftschlangen (Serpentine Streamers) works by artist Annette Wehrmann (1961–2010) at the third floor at KW Institute for Contemporary Art. The presentation comprises replica of her Luftschlangen as well as audio recordings of her reading-performances. In the 1990s, Wehrmann implemented her Luftschlangen within self-organized artists’ spaces, where she read her texts—typed on paper streamer—along the windings and loops of the material. The texts unite everyday observations with philosophical and aesthetic inquiries. In her performances, Wehrmann created visual poetry in space, under the consideration of art in the social context. The artist realized her anarchical works by using ephemeral and cheap materials. She encountered socio-political questions with utopian, feminist, and even fantastic counter proposals.

9 March 18, 7 pm
The installation of Annette Wehrmann’s Serpentine Streamers closes with a reading of her writing by Judith Hopf combined with a screening of selected films by Wehrmann.

Made possible with the support of Ort des Gegen e. V./ Estate Annette Wehrmann
With special thanks to Erzsébet Ambrus-Möhle, Sophie Boysen, Isabelle Demin, and Chinh Nguyen Thi



Starship @ Halle für Kunst, Lüneburg

Halle fuer Kunst cordially invites to


December 11, 2017 – December 17, 2017
Halle fuer Kunst Lüneburg
Reichenbachstrasse 2, 21335 Lüneburg


In the week from December 11 to 16, 2017, the Berlin art magazine Starship will be a guest at the Halle fuer Kunst Lüneburg, where they will work on a new issue to be published in January 2018. The last issues of Starship were also edited and produced in cooperation with institutions in a similarly open way upon the invitation of the Kunsthal Aarhus and the gallery Supportico Lopez in Berlin.

Starship, a magazine that has been published in Berlin since 1998, is not unusual in regard to its form and manner of editing, but it is nevertheless unique. It was established by artists and has been published by artists for close to 20 years. Such a long period of publication is not the rule for a self-financed art magazine. This is made possible by Starship’s institutional independence and a number of characteristic strategies and cooperation projects, including changing formats, exhibitions, an own publishing house and distribution, as well as a flexible publication frequency.
All works by the artists shown in Starship are original contributions for Starship. The production of the magazine therefore resembles that of an exhibition. Each new issue starts on a wall on which the artist’s contributions are set up in varying constellations for the period of two months. During this time, they are hung and re-hung, discussed and further developed with the artists. The theme of each issue of Starship evolves out of these discussions.
A basic element of Starship are the columnists. Columnists are writers and artists responsible for one part of Starship – their columns – in each issue. The long and varied list of columnists to date includes Amelie von Wulffen, Judith Hopf, Karl Holmqvist, Jakob Kolding, Mark von Schlegell, Tenzing Barshee, Hans-Christian Dany, Chris Kraus, Mercedes Bunz, Vera Tollmann, Stephanie Fezer, Florian Zeyfang, Christopher Mueller, and many others.

Since 2014, Starship has been edited by Gerry Bibby, Nikola Dietrich, Martin Ebner, Ariane Müller, and Henrik Olesen.

Martin Ebner and Ariane Müller will present the magazine, talk about the artists contributing to the next issue and play music on Friday, December 15, 2017, from 6 to 9pm.
Starship working at Kunsthalle Lüneburg is a public endeavour. We would like to invite you to take a look at how Starship is produced, browse through old issues and read new texts.


Talk, music and conversation by and with Martin Ebner and Ariane Müller
Friday, December 15, 2017, 6 – 9pm

Workshop »Wir machen eine Zeitschrift« with Maria Smith
Sunday, December 17, 2017, 3 – 5.30pm
For children and teenagers aged 7 to 14

With generous support by Land Niedersachsen, the Sparkassenstiftung Lüneburg, the Lüneburgischer Landschaftsverband, Hansestadt Lüneburg and VGH-Stiftung.


It is not easy, but

It is not easy, but
Filmscreening of experimental short films, music videos and performances from the years 2003-2017 by Martin Ebner

27 November 2017 | 19:00 – 21:00
Cultural Forum of the Austrian Embassy Tokyo
1-1-20, Moto-Azabu, Minato-ku, Tokyo

English, No translation
Charge : Free

Martin Ebner will talk about his artistic work and show a selection of his films and videos between 2003-2017.

Martin Ebner is an Austrian visual artist who lives and works in Berlin since 1995.
His artistic practice includes installations, objects, video, film, public works, photography, computer animation, drawing and music performances.
He is publisher and member of the editorial staff of the art magazine STARSHIP, together with Ariane Müller, Gerry Bibby, Nikola Dietrich and Henrik Olesen.
From September to November 2017, Martin Ebner was a scholarship holder of the Cultural Exchange Scholarship of the State of Berlin at the Tokyo Arts and Space Residency (TOKAS) in Sumida-ku / Tokyo.

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Expo 70


Tarō Okamoto, Hand shaped chairs, 1967–1968



TOKAS – Open Studio


TOKAS Residency
OPEN STUDIO 2017-2018/November

2017.11.10(Fri) – 2017.11.12(Sun)
11:00 – 17:00

Tokyo Metropolitan Foundation for History and Culture, Museum of Contemporary Art Tokyo, Arts Program and Residency Division

TOKAS Residency
1F, 2-14-7 Tatekawa, Sumida-ku, Tokyo 130-0023

<International Creator Residency Program>
Prapat JIWARANGSAN (Thailand| Photography, Video)

<Exchange Residency Program>
Hugh DAVIES (Australia| Game)
Martin EBNER (Germany| Installation, Video)
Simo KELLOKUMPU (Finland| Choreography, Research)
Leonor Serrano RIVAS (UK, Spain| Video-installation, Sculpture)

<Institutional Recommendation Program>
Abdelkader BENCHAMMA (France| Drawing)
Michel HUNEAULT (Canada| Photography, Video)

<Research Residency Program>
Rowan GEDDIS (UK, Sweden| Curation)
WANG Chong (China| Performance)

*Exhibits Only
Barbara CUETO (Germany| Curation)
Stefanie GAUS & Jana ESKE (Germany, Switzerland| Film, Curation)
Seyit Battal KURT (The Netherlands| Video, Installation)
Heather B. SWANN (Australia| Sculpture, Drawing)
November 11 (Sat) 14:00-16:00
Talks by residing creators

November 12 (Sun) 14:00-16:00
Drawing + Talk
„Drawing Tube vol.3“
Abdelkader BENCHAMMA × SUZUKI Hiraku

*No reservation necessary / With Japanese – English interpreter

„OPEN STUDIO“ is the special opportunity for the audience to see creative activities by residing creators and hear their talks and a dialogue with guest speakers.

13 groups/14 creators will introduce their works and activities with images, videos and drawings, and 8 of them will give talks on 11/11 (Sat).

Partner Institutions:
Berlin city, Kunstraum Kreuzberg/ Bethanien (Berlin, Germany)
Matadero Madrid (Madrid, Spain)
The Finnish Cultural Foundation, HIAP (Helsinki International Artist-in-Residence Programme) (Helsinki, Finland)
Asialink, Royal Melbourne Institute of Technology (Melbourne, Australia)

Gruppe Gummi K

„Wie Eins zum Andern kam“
Knetgummianimation, 12 Minuten
Gruppe Gummi K, 1996
Alice Creischer, Martin Ebner, Christoph Keller, Ariane Müller, Andreas Siekmann,
Nicolas Siepen, Josef Strau, Klaus Weber, Amelie von Wulffen

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Parapolitics: Cultural Freedom and the Cold War

HKW – Haus der Kulturen der Welt

Nov 3, 2017 – Jan 8, 2018

Curated by Anselm Franke, Nida Ghouse, Paz Guevara, and Antonia Majaca

With works by Art & Language, Doug Ashford, Michael Baers, Antonina Baever, Alessandro Balteo-Yazbeck (mit Media Farzin & Paolo Gasparini), Romare Bearden, Samuel Beckett, Lene Berg, Broomberg & Chanarin, Fernando Bryce, Daniel Buren, Luis Camnitzer, Alice Creischer, Didactic Exhibition, Liu Ding, Charles & Ray Eames, Miklós Erdély, Peter Friedl, Liam Gillick, Sheela Gowda, Philip Guston, Gruppe Gummi K, Max de Haas, Chia-Wei Hsu, Iman Issa, Voluspa Jarpa, David Lamelas, Norman Lewis, İlhan Mimaroğlu, Moiseyev Dance Company, Museum of American Art in Berlin, Irving Norman, Guillermo Nuñez, Branwen Okpako, Boris Ondreička, Nam June Paik, Décio Pignatari, Howardena Pindell, Sigmar Polke, Rebecca H. Quaytman, Walid Raad, Steve Reich, Ad Reinhardt, Gerhard Richter, Faith Ringgold, Norman Rockwell, Peter Roehr, Martha Rosler, Charles Shaw, Yashas Shetty, Francis Newton Souza, Frank Stella, The Otolith Group, Endre Tót, Suzanne Treister, Twins Seven Seven, Josip Vaništa, Wolf Vostell, Susanne Wenger, and others

Gruppe Gummi K: Wie eins zum andern kam
(Alice Creischer, Martin Ebner, Christoph Keller, Ariane Müller, Andreas Siekmann, Nicolas Siepen, Josef Strau, Klaus Weber, Amelie von Wulffen)
Clay animation video, 12 min, sound, 1996

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SUPERBEAT vol.01 開催
スーパービート vol.01

DATE: 2017.11.4 Sat.
TIME: 23:00-5:00
VENUE: Shibuya ROOTS, Tokyo

ENTRANCE FEE: ¥1,000 / 1 drink

Time Table
23:00- DJ ONORI
00:00- Orkanora + Chikara Matsumoto
00:30- Hans Andersson + Martin Ebner
01:30- Hero 4
02:40- Orkanora + Chikara Matsumoto
03:10- OKAZAKI Sayaka + DJVOQ
04:00- DJ ONORI, Hero 4, and so on…

Photo by Rin Tamura






Re-imagining Utopia [The Auroville Project]

Ariane Müller & Martin Ebner: The Near Future, 2012



Re-imagining Utopia [The Auroville Project]
Carolina Andreasson, Jessica Bjöhrn, Andrew Burton, August Bällgren, Christoph Draeger, Martin Ebner & Ariane Müller, Charlotte Hedberg, Swetlana Heger, Heidrun Holzfeind, Elka Krajewska & Gregor Neuerer, Tryggve Lundberg, Gazi Mrah, Klaus Weber und Olav Westphalen


From Without and From Within [The Auroville Project]
Christoph Draeger and Heidrun Holzfeind

Kunstpavillon Innsbruck, Austria
September 7 – November 11
opening September 7, 7 pm


At last a place where one will be able to think of the future only.
(The Mother)
The alternative community Auroville was founded 1968 in Southeast India by French philosopher Mira Alfassa (The Mother).

[The Auroville Project] looks at how the utopian ideals of the community – no private property, no money, no rules, no religion – in short: divine anarchy, are lived today, almost 50 years later. It investigates how relationships between humans and nature, an ecological and sustainable lifestyle, spirituality and political ideals of self-development and collectivism can be re-imagined today.

Auroville is a social experiment dedicated to continuous education and research on human nature (the search of the inner being) that thrives for human unity through a state of higher consciousness. As one of the few alternative communes born in the 1960’s it does not only still exist, but is actually growing and thriving. Nevertheless the goal of building a city of 50,000 inhabitants in the form of a galactic spiral is far from being achieved after 50 years.

In 2018, Auroville will be celebrating its 50th anniversary. Although Auroville has a rich tradition of experimental architecture, and although Aurovilians keep emphasizing the importance of creative expression, it is still almost devoid of public or contemporary art. This spring Draeger and Holzfeind organized a workshop titled Re-imagining Utopia with students at the Umeå Academy of Fine Arts to dream up possible interventions and proposals for public artworks in Auroville. For the [The Auroville Project] exhibition they furthermore asked artist friends and colleagues to contribute works to the Re-imagining Utopia show, that reflect on the idea of a utopian community in the 21st century.







Ist Eros der eben jetzt von mir beobachtete Planet?

Ist Eros der eben jetzt von mir beobachtete Planet?

Gottlob Frege, Ludwig Wittgenstein und ((4×3)+12) Versuche über die logische Struktur der Welt

Eine Ausstellung im Kunstverein Goldberg vom 19. August 2017 bis zum 08. Oktober 2017
Eröffnung am 18. August 2017

mit Arbeiten von Josef Dabernig, Martin Ebner, Andreas Fogarasi, Bernhard Frue, Kathi Hofer, Roland Kollnitz, Ingo Nussbaumer, Wendelin Pressl und Markus Hofer, Anja Ronacher, Simon Wachsmuth, Anita Witek, Otto Zitko, Heimo Zobernig

Zusammengestellt von Gregor Schmoll

Goldbergkunst e.V.
Lange Straße 76
19399 Goldberg



Martin Ebner, Problem
Video, silent, 30 min., 1995


Zwei Seelen

Ariane Müller

Die zwei Tischtennisbälle, die hinter Blumfeld, einem älteren Junggesellen herhüpfen, erscheinen mir, so wie sie Franz Kafka beschreibt, wie zwei plötzlich eigenständig agierende Identitäten, die sich aus dem Ensemble von Identitäten die Blumfeld ausgemacht haben, herausgelöst haben und nun ein Eigenleben entwickeln. Dieses ist zwar an ihn gebunden, es ist eigentlich sein Leben, aber er kann die zwei abgespaltenen Subjektivitäten nicht kontrollieren. Sie beginnen, auf sich aufmerksam zu machen, sie machen andere auf ihn aufmerksam. Sie hüpfen um ihn herum und folgen ihm überallhin. Sie machen Geräusche, jenes ping pong, oder eben tic tac, und sind damit recht eigentlich ein Tick, eine aus einem herausbrechende Bewegung. Sie sind ihm lästig und sie zwingen ihn zu einigen lächerlichen Aktionen. Im Versuch, sie wieder unter Kontrolle zu bekommen, sie zu fangen – was ihm bei einem gelingt–, erliegt er schliesslich der Lächerlichkeit dieses Unterfangens. Und er gibt auf. „Es ist zu entwürdigend solche Massnahmen gegen zwei kleine Bälle zu ergreifen“ (two balls?). Er sperrt sie daraufhin in den Schrank, so wie viele solche einem unangenehmen Identitätsteile, wegen denen man sich schämt, die sich abzuspalten drohten, indem sie ein zu offensichtliches anderes Leben forderten, in den Schrank gesperrt wurden, oder, wie es im Fall der erzwungenen Unterdrückung von Sexualität genannt wurde in the closet. Und er beschließt sie sicherlich und in nächster Zeit zu zerstören. Eben sicherlich bald, aber sicher nicht jetzt. Er weiß, er muss es, aber er kann es nicht jetzt. Aber er muss, er wird es demnächst machen. Stattdessen schickt er zwei Kinder in die Wohnung, die er seinen zwei vorher erfolgreich für den äusseren Schein in the closet gesperrten Identitäten (balls?) überantwortet. Blumfeld hat kein Problem, aber er hat ein Problem damit, dass etwas auf ihn aufmerksam macht, dass ihn etwas, das mit ihm zu tun hat, am Schlafen hindert – sie machen zuviel Lärm unter seinem Bett. Sie werden ihm zum Problem, aber es gelingt ihm, dieses Problem in the closet zu sperren. Wo es herumrandalieren kann, und warten, ob jemand den Schrank öffnet.

In Martin Ebners Film Problem, der im Umkreis von You Never Know, einer aus drei Personen – inklusive Martin Ebner – bestehenden Künstlergruppe entstanden ist (und in dem gemeinsamen Studio), könnten es nun Platzhalter für die drei Personen selbst sein, die in jenem für sie dunklen Raum miteinander und gegenseitig agieren (das Kunstfeld, etc.). Es könnten aber natürlich auch drei unterschiedliche Identitäten sein, die in diesem leeren Körpersack agieren, von ihm in ihren Bewegungen limitiert werden, und ihn wegen der Unterschiedlichkeit, der von ihnen intendierten Richtung zu jenen Konvulsionen und Zuckungen bringen, ihn sich hin und herwälzen lassen. Das Problem ist, dass sie voneinander nicht wirklich wissen, sich nur als Hindernisse wahrnehmen, in diesem von ihnen gemeinsam bewohnten Körper. Der ja von aussen wie eine irrationale, lächerliche, von bedrohlichen Zuckungen gequälte Einheit erscheint. Dieser Körper mit seinen drei Seelen, die ja auch eine kugelförmige Gestalt haben (und von denen sich jeweils eine in einem Fussball befindet – dagegen: Zwei Seelen wohnen, ach! in meiner Brust, Die eine will sich von der andern trennen; Die eine hält, in derber Liebeslust, Sich an die Welt mit klammernden Organen; Die andere hebt gewaltsam sich vom Dust (= Staub) Zu den Gefilden hoher Ahnen.).

Starship Screenings at the Pool

Sa, 12.8. 4.00 pm

Starship Screenings at the Pool
»(Almost) Silent Movies«
selected by Martin Ebner


Works by

Lili Dujourie
Joan Jonas
Takashi Ito
Shigeko Kubota
Karole Armitage – Charles Atlas

accompanied by Theresa Patzschke and Martin Ebner



Sommerbad Humboldthain
Wiesenstraße 1, 13357 Berlin

There is a constant, well balanced flow of noises inside the Humboldthain summer pool area. Underwater gurgles, smaller and bigger splashes, a multitude of voices in the air, cries, squeals, and shouts of joy, excitement or outrage. Whisperings in the wardrobe. The far away humming of the city. The occasional voice of authority through the speaker system. In a world of atomic microprecision overall time is approaching 4 p.m.

Ladies and Gentlemen, welcome to the (Almost) Silent Movie Hall. It is comfortaby cool and shady inside. There will be a screen with colors, movements and flickers. There will be two-dimensional men and women, some in black and white, and some of them lonely. Old animals in short trousers will sing and dance. Chairs will be elevated and tables shifted. There will be more than one short pause. Here the (almost) silence comes in. (Almost) silence is not really silent, it is an improved version of the well known not so silent silence, but please feel free to find out for yourself.

Martin Ebner is an artist, Theresa Patzschke is a musician and writer, both based in Berlin.

Es gibt einen konstanten, gut balancierten Fluss an Geräuschen innerhalb des Sommerbades Humboldthain. Unterwassergurgeln, kleine und größere Platscher, eine Vielzahl von Stimmen in der Luft, Heulen, Quietschen und Schreie der Freude,  Aufregung oder Empörung. Geflüster in der Garderobe. Das ferne Rauschen der Stadt. Die Stimme der Autorität über die Lautsprecheranlage. In einer Welt der atomaren Mikropräzision wird es langsam 16 Uhr.

Sehr geehrte Damen und Herren, willkommen zum (beinahe) stillen Kino. Hier ist es angenehm kühl und schattig. Es gibt eine Projektionswand mit Farben, Bewegungen und Lichtblitzern. Es werden zweidimensionale Männer und Frauen da sein, manche sind schwarz-weiß, und manche einsam. Alte Tiere in kurzen Hosen werden singen und tanzen. Stühle werden angehoben und Tische verschoben. Es gibt mehr als eine kurze Pause. Hier tritt die (beinahe) Stille auf. (Beinahe) Stille ist nicht wirklich still, sie ist eine verbesserte Version der nicht ganz so stillen Stille, aber überzeugen sie sich doch bitte selbst.

Martin Ebner ist Künstler, Theresa Patzschke ist Musikerin und schreibt, beide leben in Berlin.

SA 29.7. 4 pm
Starship Screenings at the Pool

A program with experimental video works, circulating around the year when Ronald Reagan became president.

Works by

Steina and Woody Vasulka
Carolee Schneemann
Ed Emshwiller
Dara Birnbaum
Chris Burden
Nam June Paik
Bruce Conner
Stan Vanderbeek
Zbigniew Rybczynski
Nam June Paik
Pipilotti Rist

Selected by Martin Ebner

In 1980, many of the happy, youthful visitors of the Humboldthain pool are not even a concept on their parents‘ horizons. These days questions and difficulties motivating the early phase of electronic video art are hard to imagine for those who are used to today’s omnipresent image production via smartphones and internet.
On Saturday there will be an opportunity to dive into this special, slightly too blurry, silent and loud, raw, often witty, sometimes slow or a bit too quick language of images, like a time machine parallel to the acoustic and visual turbulent joy of the summer pool.

Martin Ebner is an artist based in Berlin. He is co-publisher of the magazine Starship together with Gerry Bibby, Nikola Dietrich, Ariane Müller, and Henrik Olesen.

Tropez is a space for art inside the public pool Sommerbad Humboldthain initiated by Nele Heinevetter. For the first summer exhibition POOL, artists, performers, musicians, authors, and curators will mingle with the guests of Berlin’s most beautiful public pool, among them Søren Aagard, Broken Dimanche Press, Marvin Gaye Chetwynd, Creamcake, Sofia Duchovny, John Matthew Heard, Hervé Humbert, Michael Kleine, Kris Lemsalu, Zoë Claire Miller, Alejandro Almanza Pereda, Mary Audrey Ramirez, Jen Rosenblit, Starship, Markus Wirthmann, and Samson Young.

Tropez is also a kiosk. Every day from 10 am to 6 pm.



Sommerbad Humboldthain
Wiesenstraße 1, 13357 Berlin


Shadow Projector – 14n61w


Ariane MÜLLER, Martin EBNER
Shadow Projector
17.06 – 29.07.2017

espace d’art contemporain 14°N 61°W
Place de l’Enregistrement
97200 Fort de France – Martinique FWI


Ariane MÜLLER, Martin EBNER
Shadow Projector

June 17 – July 29 2017

caryl* ivrisse – crochemar & [ creative renegades society ] are pleased to welcome and present the exhibition of Berlin based Austrian artists, Ariane Müller and Martin Ebner.

For their exhibition titled „Shadow Projector“ at espace d’art contemporain 14°N61°W Ariane Müller and Martin Ebner create an artistic environment which blends aspects of the bourgeois interior with the perception of the outside and public through drawings, prints, and a video installation.

The color primary blue was used as the starting point of the artists collective process to translate a list of words, and related concepts into the space. This effort initially started in Berlin and got modified and adapted through the development of the installation in the context of Martinique and the specific situation of the gallery space.

A joint large blue drawing of leaves of Monstera foliage evokes the famous cut outs of Henri Matisse, La Piscine. This association is not involuntary, it hints to Matisse reduction of painting to form and color, that relied on objectification and a reduction of concepts, and persons to a consumable image.

As an architectural intervention, one of the two entrances connecting the two main exhibition spaces is blocked through a lightweight wooden grid, also painted in blue. Through this limitation of choice of entrance, the plant’s presence in the room gets enhanced, and an inside-outside relation is established.

In Martin Ebner’s video installation, a white rotating „hand spinner“ shape is used to uncover some hidden formal aspects of this popular object, changing its appearance from a toy to a tool, to a face, and while rapidly spinning, even a flower or a star.

And on the large wall to the right, extending the space towards the imaginary, Ariane Müller’s life sized prints of doors are playing with different techniques of creating a realistic image, that clashes with the unlikeliness of its content.

In extension and addition to their exhibition, Martin Ebner and Ariane Müller will conceive an audiovisual presentation at the gallery, focusing on former works and developments of the two artists, as well as presenting the newest issue of STARSHIP Magazine, an international bilingual art magazine focussing on contemporary art and writing, which they publish together with Nikola Dietrich, Gerry Bibby and Henrik Olesen in Berlin.


Mit freundlicher Unterstützung durch



STARSHIP #16 release

We would like to invite you to celebrate with us
the new issue of Starship.

On the afternoon of Sunday, May 28, 2017
between 4 and 7 p.m.
in front of Möbel Olfe.

Dresdener Strasse 1
10999 Berlin

Gerry Bibby, Nikola Dietrich, Martin Ebner, Ariane Müller, Henrik Olesen

Starship #16

with contributions by

Søren Andreasen, John Allan MacLean, Tenzing Barshee, John Beeson, Leo Bersani, Gerry Bibby, Matt Billings, Kaucyila Brooke with Vickie Aravindhan, Louis Coy, Boz David, Jennifer Green, Blake Jacobsen, Tyler Lumm, Giselle Morgan, Ace Shi, AJ Strout, and Josh Winklholfer, Mercedes Bunz, David Bussel, Octavia E. Butler, Bonnie Camplin, Leidy Churchman, Eric D. Clark, Jay Chung, Hans-Christian Dany, Katja Diefenbach, Nikola Dietrich, Francesca Drechsler, Martin Ebner, Sokol Ferizi, Stephanie Fezer, Julian Göthe, Michèle Graf, Selina Grüter, Karl Holmqvist, Cornelia Herfurtner, Nadira Husain, David Iselin-Ricketts, Monika Kalinauskaite, Heinz Peter Knes, Jakob Kolding, Michael Krebber, Klara Liden, Q Takeki Maeda, Robert McKenzie, Robert Meijer, Ariane Müller, Christopher Müller, Henrik Olesen, Mark von Schlegell, Dan Solbach, Natasha Soobramanien, Katrin Trüstedt, Evelyn Taocheng Wang, Scott C. Weaver, Luke Williams, Amelie von Wulffen, Florian Zeyfang

Cover: Klara Liden, 410 meters, May 22, 2017
Ink on 1000 copies of Starship

We would like to thank to Jacob Fabricius, Trine Friis Sørensen, and the whole team of Kunsthal Aarhus, where we produced this issue of Starship in April 2017 during our stay for the Timeshare project.


Pure Fiction


– Pure Fiction Independent Art Bookfair, Frankfurt am Main –


Pure Fiction Independent Bookfair is a one day event and will take place
on Friday the 28th of April in the Staedelschule in Frankfurt am Main.
Independent art book publishers from around the globe are invited to set
up stall, sell their merch and have a good time.

Pure Fiction Independent Bookfair is initiated and organised by Pure
Fyction, a writing / performance seminar run by art writer and sf novelist
Mark von Schlegell and collaborating students. Staedelschule is a
contemporary fne arts academy in Frankfurt am Main, Germany.

For a fee of 30 euros to cover running costs, guests will receive a table, 2
chairs and possible wallspace. Earliest responders will have frst choice of
Space and support will be available for lectures and special presentations.
Every guest is invited to make a presentation during the day.
Reserve your table and take part in the 2017 Frankfurt am Main
Independent Art Book Fair.



The Timeshare Project


Kunsthal Aarhus
J. M. Mørks Gade 13
Aarhus, Denmark

31.Mar.2017 – 03.Jun.2017

The Timeshare Project – Kunsthal Aarhus 100 Years

Starship Magazine
Rond-Point Projects
Eastside Projects

Like a timeshare holiday home, Kunsthal Aarhus will host five international art institutions in the spring of 2017. Each taking turn, they will present weeklong curatorial and editorial projects in the kunsthal’s octagonal exhibition space, for example in the form of talks, performances, screenings, displays, installations or editorial meetings. Following these five visits, the institutions will produce individual publications, which constitute the project’s second timesharing format. By transporting the reader back to recent, distant or virtual pasts – or into the future, a publication effectively serves as a time machine that grants us access to other moments in time.

In 2017 Kunsthal Aarhus celebrates its 100th anniversary. As a kunsthal in the original sense of the term, Kunsthal Aarhus does not have a collection where we can consult and negotiate this century of exhibition making. The Timeshare Project in turn substitutes recollection with timesharing as a collective, border-crossing contemporary practice.

Project period: 31 March–3 June, 2017
Opening: 31 March, 5pm



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Swiss Cheese Plant


Ariane Müller
Martin Ebner


02.04. – 14.05. 2017

Kunstverein Göttingen

Altes Rathaus
Markt 9
37073 Göttingen

Opening hours
Tue – Sun 11–17 Uhr

Sun, 02. April 2017, 11.30 a.m.

Swiss Cheese Plant shows collaborative and individual works of Berlin-based artists Ariane Müller and Martin Ebner, originating in the specific spatial structure of the Kunstverein Göttingen’s location at the old town hall. This historical space, which was built for the self-representation of the town’s bourgeoisie, has gone through easily discernible architectural transformations, and now presents itself as an enfilade of rooms resembling the bourgeois flat. The exhibition comments on this space in various ways. In Martin Ebner’s work, the public and its realisation in the square, is inscribed in the interior space, shifting and enlarging the actual room. Ariane Müller’s work deals with a flat’s interiors and their hidden spaces. The bourgeois  home is constituted by representational rooms and their counterpart of hidden spaces, service corridors, and servants dwellings – mirroring Freud’s analysis of the self. This links to literary references (»The Door in the Wall«, H. G. Wells), as well as to images directly drawn from dreams (entering an unknown room in one’s own apartment), which in their unambiguity were templates for a porn film famous for focusing on female sexuality (»Behind the Green Door«, A. + J. Mitchell).

The houseplant and the mouse are two very different elements of nature within the flat. The Swiss cheese plant serves as decoration and backdrop of the depiction of controllable and decorative feminity in the interiors (in Matisse nude drawings, e.g). The mouse, formerly dreaded  companion of the human,  is—as we can see in its frequent use as a comic character—now controllable, and from its anarchic beginnings, which in the character of Mickey Mouse hints at its origins in slave work in the US south, has changed itself into a law obiding citizen. A blustering, cursing household robot has taken its place, which contrary to the mouse (but similar to the servants, who were by the way more dreaded for this), has the potential to monitor us and report its findings.

The decoratively lascivious shape of the Swiss cheese plant stems in the necessity to catch as much sunlight  as possible in the thick forest, where sun only occurs as sunspots. Biologists have, calculated that the layout of holes and surface provides a slight advantage to plants with entire leaves.  Within the psychedelic of a space made up of bright light and deep shade, spatial perception disperses and a new, dreamlike, in-between space comes about. The natural, mathematical precision of the plant is reflected by the mathematical logic of the animated image, which through calculations of pixels can confund us to see movement and space.


Ausgangspunkt der Ausstellung Swiss Cheese Plant, die gemeinsame und einzeln entstandene Arbeiten der beiden Berliner KünstlerInnen Ariane Müller und Martin Ebner zeigt, ist das spezifische Raumgefüge des Göttinger Kunstvereins an seinem Standort im Alten Rathaus. Dieser historische Raum, der zunächst der Repräsentation des Bürgertums diente, ist, wie an der Architektur leicht ablesbar, durch mehrere Umgestaltungen gegangen und präsentiert sich nun in der Raumflucht einer großbürgerlichen Wohnung. Innerhalb der Ausstellung wird dieser Raum auf verschiedene Art kommentiert. In Martin Ebners Arbeit wird das Öffentliche, und seine Verwirklichung im Platz, in den Innenraum eingeschrieben und der eigentliche Raum damit erweitert. In Ariane Müllers Arbeit geht es um das Interieur und die versteckten Räume: Denn die großbürgerliche Wohnung beruht auf dem Gegenüber von repräsentativen und von versteckten Räumen – die privaten Zimmer und der Dienstbotenbereich – und damit auf einer Konstellation, die sich in der Freud’́schen Analyse der Seele niederschlug. So werden hier sowohl literarische Referenzen (»The Door in the Wall«, H. G. Wells) aufgerufen als auch Bilder, die direkt an Träume anknüpfen (Das Betreten eines unbekannten Zimmers in der eigenen Wohnung), die in ihrer Eindeutigkeit zur Vorlage für einen der berühmtesten Pornofilme wurden, der die weibliche Sexualität in den Vordergrund rückte (»Behind the Green Door«, A. + J. Mitchell).

Die Zimmerpflanze und die Maus sind in dieser Wohnung zwei sehr unterschiedliche Elemente der Natur und des Außen. Das Fensterblatt dient als Dekoration und Backdrop der Darstellung des kontrollierbaren und dekorativen Weiblichen im Interieur (in den Aktzeichnungen bei Matisse zum Beispiel). Die Maus, ehedem gefürchtete Begleiterin des Menschen ist wie wir in ihrer häufigen Verwendung als Comicfigur sehen, inzwischen kontrollierbar, und hat sich aus ihren anarchischen Anfängen, die bei Mickey Mouse noch direkt auf seine Herkunft als Sklave und Domestik in den Südstaaten verweisen, einstweilen selbst zum rechtsgläubigen Bürger gewandelt. An ihrer Stelle wuselt nun ein Haushaltsroboter polternd und fluchend durch die Räume, der im Gegensatz zur Maus – aber ähnlich den Domestiken, vor denen man sich allerdings weit mehr fürchtete, – die Potenzialität hat, uns zu überwachen und seine Wahrnehmung weiterzumelden.

Die dekorativ-lasziven Formen des Fensterblatts beruhen auf der Notwendigkeit dieser parasitären Pflanze möglichst viel Sonneneinstrahlung im Unterholz aufzufangen, wo diese nur als Sonnenflecken oder Sonnenpunkte vorkommt. Dabei haben Biologen berechnet, dass die Anordnung aus Löchern und Flächen einen minimalen Vorsprung gegenüber ganzblättrigen Pflanzen erzeugt. Innerhalb der Psychedelik eines solchen Raums aus hellem Licht und tiefstem Schatten löst sich die Raumwahrnehmung auf und es entsteht ein traumartiger Zwischenbereich. Dieser natürlichen mathematischen Präzision der Pflanze steht die mathematische Logik des animierten Bildes gegenüber, die aus der Berechnung von einander folgenden Pixeln dem Menschen Bewegung und Raum vorspiegeln kann.

Kuratiert von Anja Lückenkemper

Zeichnung © Ariane Müller


 Photos: Verena Kathrein


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The events are organized by the Goethe-Institut Athen as part of the ‘apropos documenta’ programme.
The presentation/talks will be held in English.
Radio Athènes is supported by Outset Contemporary Art Fund (Greece).