With works by

Albrecht Fersch, Alexej Tchernyi, Bastian Goecke, BFGF Design Studios, Cornelius Grau, Christoph Medicus, Daniel Pauselius, Daniel Silvo, David Hanauer, Else (Twin) Gabriel, Hisham Almannai , Ingo Kramer, Jan Karpisek, Marko Krojac, Jessie English, Konstantin Grcic, Laura Eschweiler, Manuel Perrin, Michael Roggon, Michael H. Rohde, Peter Schäfer, Sandra Krause Gomez, Sandra Trösch, Tobias Roth, Wu Zhi


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Wu Zhi: Untitled, Oil on canvas,2015

Alexej Tschernyi : Untitled / Paper on foil, LED, ca, 120 x 160 x 100 cm, 2015

LEFT -> Jan Karpisek : Landscape with time, 2002 / 2007

In 2002 I've been working on series of black and white gestic paintings focused on time flowing. I was thinking much of Barnett Newman and Gerhard Richter and my own visions. Outside the usual paintings with left-to-right direction I made few playful experiments like a little canvas with vertical >>richterized hills<<. This landscape was finished in 2007 by adding sequence of strokes pattern above the sky over the hills as in that time I used such pattern of dwindling strokes as another way of time-recording. (Jan Karpisek 2015)

RIGHT -> Sebastian Göcke : Wallscrewhanger

Like the clash of a sewing-machine and an umbrella on a dissecting table in 1920 on a photography by the artist Man Ray, Bastian Goecke designed his „Wallscrewhanger“ as a synthesis of a screw and a clothes hanger with the handling of a corkscrew: this one-piece hanger made of zinc-plated metal can be manually wall-mounted. What Goecke has established is not only an item that carries clothing, but also a tool to carry out an attitude. In the context of >>BLESS shop<< #19 in Mexico City – an exhibition-series set off by the design and fashion label BLESS – Bastian Goecke has developed an object that implies functions for service and representation at the same time. Hereby >>Wallscrewhanger<< illustrates how the presentation of fashion varies between showing art and offering commodities. By pointing out this ambivalence the polyvalent character of the hanger itself is emphasized. Due to its plain design following the classical clothes hanger’s form and its self-contained presence on the wall, „Wallscrewhanger“ simultaneously appears as a sculptural object and a display which elevates clothes out of the ordinary. Between a feasible touch and a mere gaze >>Wallscrewhanger<< subtly declares them a fetish. (Christina Irrgang)

Daniel Silvo: 10 & 50 Euro peacock, From the series: Four Ways to fold your money, photography, 2009 / 10 Euro bill, 2014

David Hanauer: Worldwide carpet, WWC#2 - Arctic Woodland, printed carpet material, 140 x 190 cm, 2011

Worldwide Carpets are rugs that are imprinted with aerial photographs. The image illustrates landscapes and architectural constructions - presented as a translation of the former Persian Carpets to the present time. Worldwide Carpets refer to aerial photographs as they are presented by software programs on the internet. From the abundance of pictures which virtually depict the globe and trace entire city structures in detail, the designer picks views from certain cities always referring to architecture and their city planning. As different levels of pattern appear - depending on the viewers point of view - the once chosen structure dissolves towards a disruption of its context and transfers the original photograph into a pattern. David Hanauer takes up the ornament structures of Persian carpets for the composition of his patterns, while referring to recurring motives and patterns. The different scaled and imprinted carpets can be used individually or serially as floor covering.The designer documents the specific forms of existing city planning with the bird‘s eye view. Based on the generated vocabulary of forms, while also modifying the template, David Hanauer ties on the traditional ways of figurative story telling with the carpet being the image carrier. WorldWide Carpets are not only everyday objects: they do as well report about the contemporary human being who is using the carpet.

Daniel Pauselius: Langeweile ist ein dehnbarer Begriff 4-7, silicon, 2015

(e.) Twin Gabriel: Tote Familie, photoperformance, 2003 camera: Wiebke Loeper, version 2015, dia, 4 x 62 x 62cm, photography in lightboxes, 2015

Jessie English: Bean Bag for Betakontext, 2015

Michael Roggon: Lufteinschlüsse, video and furniture, 21:00 min, 2014 / 15

Laura Eschweiler: schredder aurora jökull, 2015

Michael H. Rohde: bathroom, photography on alu-dibond 200 x 218 cm, 2010

Peter Schäfer: Tape Pot, brown tiled - adhesive duck tape, 22 x 26 x 26 cm, 2014
Adhesive tape thus far has mainly been known as a material for packing or repairs; but for Peter Schäfer, it is a kind of raw material like clay, glass or wicker, out of which you can easily form all kinds of containers, like bowls. The especially ingenious part is that each bowl is truly an original – even if the purely manual process were to be given over to machine production. (Text: Volker Albus)

Peter Schäfer: 1/4“ 20UNC alla Hisham, tray on tripod, 45 x 30 x 120 cm(max), 2015
Unlike its massive opponents this minimum version of a table is due to its components fully adjustable and due to the ultralight weight easy to move around. Its appearance is more tool than traditional furniture pice and emphasizes its usability.

Peter Schäfer: cablesuit multi-plug, black leather, 120 x 5 x 5 cm, 2013
Not a Bless N°26 Cable Jewellery but it fits my multi-plug anyway.

HA-PS: Wohnkorb, iron wire, cement grey, 64 x 43 x 38 cm, 2015
Distributed by Pension für Produkte this iconic furniture piece of shops and sales becomes by twisted size and material a useful piece for living. The main features like easy access and the fact that you can stack plenty baskets on top of each other is not only useful for shop displays but also for home use in kitchen, bath or living-room.

Hisham Almannai: Stativlampe, 2015
Peter Schäfer: Sorry Gerrit, color on mass-produced chair, 2015

Sandra Trösch: signs, photography, series of six, 20cm x 20cm, 2013

Sich mit seinen Initialien zu verewigen, um einen Moment festzuhalten oder sich selbst mit bestimmten Aussagen zu präsentieren, kennt man - dem Klischee nach - von touristischen Aussichtspunkten, Bushaltestellen, Umkleidekabinen in Sporthallen oder von Toilettenräumen. Durch das Einmeisseln der Botschaften mit Messern und die Beschriftung der dickfleischigen Algarven mit Eddingwirkt die Selbstdarstellung ohne jegliche Rücksicht auf Verluste seltsam befremdlich und aggressiv. (Sandra Trösch 2014)


Sepideh Madani: Waterhouse, acrylic on canvas, 30 x 25 cm
Christian Schüten: HÜFT.GURT, less is more, BFGF Design Studios 2007

Albrecht Fersch: Waffenmischung, inkjet print on plastic, cake, 2014

Christian Schüten: ASTRA.NIVEAU, Astra-bearbottle on glass, BFGF Design Studios

Sandra Krause Gomez: Flaschengeist, clay on bottle, 2014

Cornelius Grau: Radio, acrylic on wood, 2014
Christoph Medicus: As we wipe out reality, we will see this through., Swamp rags, acrylic colour on cardboard, tape, 2011

Sebastian Mends-Cole: ROLLEN.HALTER, BFGF Design Studios

Photography: Bastian Göcke, Michael H. Rohde, David Hahnauer, Christoph Medicus | Visits possible on request: wohnen(ad)betakontext.de | All rights reserved, Betakontext 2015