SORRY, BUT I´M STILL WORKING!

2021

Kunstverein Ahlen, 28. august 2021
performance, video, duration: 1.04 hour

In downtown Ahlen, near Kirchplatz, I'm standing in front of a transparent wall made of linoleum and begin to write on it with a chalk maker from what I've seen, read and hear in the last 24 hours.Again and again üI rethink and change what is spoken, what is read and what is heard. When I'm finished, I cut up the wall that I have written on. I then arrange the individual parts into a new picture and leave.

I WAS MOWING THE LAWN!

2021

Gütersloh KV IN THE BOX, Kunstverein Kreis Gütersloh, 24. july 2021 performance, video, duration: 1.35 hour

I‘m standing in a glass box and writing on its panels with a chalk marker - writing what I’ve seen, read and heard in the last 24 hours. Again and again I rethink and change what is spoken, what is read and what is heard. When I‘m finished, I remove what is written and walk away.ört habe. Immer wieder überdenke und verändere ich das Gesagte, Gelesene und Gehörte. Wenn ich fertig bin, entferne ich das Geschriebene und gehe weg.

Fotos: Philip Sawicki

NOTHING IS NOT NOTHING

2020

Münster, 05. July - 01. August 2020
performance, video, duration: variable

This is what I did:

I took over the Instagram account from deux- piece.Every evening from July 5th to August 1st 2020 I posted a video with seemingly meaning- less actions. The video record shows a moment during the day. At times I recorded the videos myself and other times not.

Day 1
I ordered a Big Vegan. I then sat at a table, unpacked the burger and used it as a cushion for my head.
Day 2
I used the lens of my iPhone as if it were my eye and looked into the sky.
Day 3
I ordered a cappuccino and blew bub- bles into it with a straw. Whatever spil– led over onto the saucer I also drank
Day 4
I had fallen asleep on the couch.
Day 5
I’m writing something.
Day 6
I attempt to smell like my nose smells.
Day 7
I’ve rolled myself up into a carpet and try to stand up.
Day 8
I’m trying to stick as many Q-Tips into my ears, nose and mouth as possible.
Day 9
I’m piercing collected cigarette butts with a needle.
Day 10
I’m putting my entire right hand into my mouth.
Day 11
I’m filming myself from below while squatting.
Day 12
I’m running out of my apartment and onto the street. I look left and right to see if someone is coming. I proceed to ring my doorbell quite long and quickly run away.
Day 13
I’m picking and chewing on my hangnails.
Day 14
I’m typing with my nose.
Day 15
I’m sitting in the beer garden. I disin- fect my hands and make a joker face with my fingers. Afterward I disinfect my hands again.
Day 16
I’m dancing with a piece of grapevine.
Day 17
I’m playing with a piece of wood used for a lamp and use it as a toothpick. Afterward I spit it out in the room.
Day 18
I’m laying on the rug, looking at the ceiling and blow bubbles with my saliva.
Day 19
I’m eating cherries and spit them out onto my MacBook during a zoom call. Afterward I brush them off from the keyboard onto the ground.
Day 20
I’m laying on the rug and cutting my nails. Afterward I collect the pieces individually.
Day 21
I’m driving my car through the car wash all the while looking at my phone.
Day 22
I’m trying to balance on a bollard while bending back my knee until I fall off.
Day 23
I’m sitting on a bench and staring at my hands while twiddling my thumbs.
Day 24
I’m looking into the camera of my iPhone and observe through the camera a crane.
Day 25
I’m tossing and turning in a sleep hub and attempt several rolls forwards and backwards.
Day 26
I’m twisting apart an oversized paper– clip and use both ends to clean my ears.
Day 27
I’m hopping along a canal and eventu– ally turn and hop back.
Previous
Next

HOW LONG IS YESTERDAY

2019

Münster, 06. July 2019,

performance, video, duration: 7.35 hour

I draw small horizontal lines on the wall of the room. A line for every day I’ve lived so far. The small lines eventually blend into one big line.

Stephanie Sczepanek
im KELLER
Aegidiistraße 46/47
48143 Münster

Info:
www.im-keller.info

Turner

2018

Münster, 24. November 2018
performance, video, duration: 2.38 hours

I stand in an empty exhibition room and repeatedly and alternately utter the words i WANT MONEY; I NEED MONEY. After a while, the pronunciation of the spoken words becomes divorced from all meaning. I utter them until I can’t anymore.

TANGO ARGENTINO

2018

Monbijoupark, Berlin, 23. May 2018
performance, video, duration: 5.34 hour

I’m dancing Tango Argentino on the dance floor. Alone or with anyone willing to dance with me.

DUISBURG

Lehmbruck Museum

2015

Lehmbruck Museum Duisburg, Friedrich-Wilhelm-Strasse 40,
03. October 2015
performance, video, duration: 47 minutes

©Foto: Till-Julian Huss

I draw a continuous line with my index finger over floors, stairs, people and objects.

Play Video

Videodocumentation, 18´26 min.

RECKLINGHAUSEN

Kunsthalle

2015

Kunsthalle, Recklinghausen, 06. December 2015
Große-Perdekamp-Str. 25-27
performance, video, duration: 3,33 hour

I draw lines with my index finger over predeter- mined lines on the palms of hands, fingers and wrists. I find pictures in the hands of people they would never suspect.

Play Video

SPEAKER´S CORNER

Münster

2014

Münster, 2014
Wolbeckerstraße, Section Kanalbrücke
performance, video, duration: 6.52 min

I dig a hole, put my head in it and fill the hole back in with sand. Subsequently I compress the sand with my hands and wait.

Play Video

SPEAKER´S CORNER

Münster

2014

Münster, 2014
Windhorststrasse, Section Speaker´s Corner I
performance, video, duration: 1.58 min

I wade through a fountain where ducks swim. I put my things down at the other end of the pool on the ledge. I return to the middle and take turns putting my hands and feet in my mouth and see how far they fit. During this process I disappear below the surface again and again. When I’m done, I go out to the edge of the pool, take my things and go away.

Play Video

SPEAKER´S CORNER

Münster

2014

Münster, 2014
Windhorststrasse, Section Speaker´s Corner II
performance, video, duration: 1.55 min

I bend my body parts, try to twist and knot them, and then roll around on the ground like a ball. I keep on trying. I interrupt the process to clasp my fingers and toes together and roll around on the ground again.

Play Video

SPEAKER´S CORNER

Münster

2014

Münster, 2014
Windhorststraße, Abschnitt Speaker’s Corner IV
performance, video, duration: 2.04 min

I walk from the street to the playground and take pictures of myself, again and again, making faces. I take off my shoes, take off my jacket and scarf and start bouncing up and down on the trampoline, which is located on the playground, all the while continuing making faces and tak- ing selfies, even with my feet. I begin to say photo ... phoootttooo ... phooootttttttooooooo. I stop jumping, get dressed again without interrupting the process of taking pictures, and walk away.

Play Video

SPEAKER´S CORNER

Münster

2014

Münster, 2014
Windhorststrasse, Section Speaker´s Corner IX
performance, video, duration: 2.57 min

You should be me. Move with the wheelchair to a public space. Stuff as many cigarettes as pos- sible into your mouth and ask people whether they have a lighter. When you’re finished, you need to ask someone to push you back to where you came from.

Play Video

Performance

TO DAY, TOMORROW, YESTERDAY

2020

Performance on 22. february 2020 as part of FIEL FU KUNFT von René Haustein
duration: 2.01 hours

Galerie Januar, Bochum-Langendreer

“I am lying on the floor talking about problems. Small, big, old, new. I’m just staring at the ceiling, what do you think?”

Play Video

I WILL HANDLE YOUR MONEY WELL

2018

since 2016 continuous performance of different duration

Last unannounced at random locations (exhibition rooms in off-spaces, art associations, galleries and museums): Bode-Museum, Berlin on May 25, 2018.

Ich gehe mit einem einfachen Pappschild durch Räume, Gänge und Treppenhäuser. Auf dem Pappschild steht: Ich werde mit Ihrem Geld GUT umgehen. Ich sammle Geld und entscheide später, was ich damit mache.

THANK YOU (for sharing with me)

2018

2018, Köln
performance, 43 min.

I’m sitting outside at a table in a cafe. I put together a long straw out of several straws. I then try to drink from the cups of neighboring tables without being noticed.

I NOTICE YOU AND MAYBE YOU NOTICE ME

2018

2018, Münster
performance, duration: 107 min

I walk through the supermarket and take the deposit bottles out of the shopping carts of random customers. With the deposit bottles I go to the return machine and exchange them. I bring the deposit note back to the shopping cart from which I took the bottles. Some notice me and other don’t.

HAPPY HOUR

2015

Kunstakademie Münster, 2015
VART CENTER, Shanghai
WELTKUNSTZIMMER, Düsseldorf
performance, duration: several hours

I sit in my chair for the entire duration of the ex- hibition and wait for you. You sit in front of me at exactly the right distance and listen to unfor- gettable things from my life. I speak without stopping at a fast pace.

münster

DomInIkanerkIrche

Münster, Domminikanerkirche, inner space
2016 performance,
duration: 3,5 hours

Ich setze einen Fuß vor den anderen und vermesse den Kirchenraum. Ich fange bei den Kirchenwänden an. Wenn ich eine Reihe beendet habe, stelle ich den linken Fuß neben den rechten Fuß und beginne von vorn und höre erst auf, wenn ich die gesamte erreichbare Wand- und Bodenfläche der Kirche vermessen habe. Ich verrücke Stühle, klettere über Hindernisse und Menschen.

2016

telephone book

Since 2013,
duration: variable
material: telephone book (Münster/Warendorf),
Iphone

I call all the phone numbers entered in the phone book once in chronological order. When I reach the person, I tell them that they will be deleted from my phone book. The numbers that are busy or unanswered remain as unmarked gaps. The work ends with the last name in the phone book. This can take weeks, months or even years.

2013

Italien, Venedig, Calle Largo XXII Marzo

Venice, 2014
performance, duration: 17 min

I walk across the square in the middle of a group of people. I start singing loudly. I cannot sing. What I sing are scraps of songs that don’t belong together. The people in the group look at me and some sing along loudly. We walk together across the square. At the end of the square I leave the group and continue walking.

OVERCOME INHIBITIONS AND DARE TO DO SOMETHING

2014-2016, Osnabrück, Münster, Braunschweig and Köln
performance of different duration

Sometimes I stand on a street corner - maybe in Rulle - and notice how my fingertips start to tingle. The feeling slowly spreads from my fingers and takes hold of my whole body. A small impulse then produces a simple action. It could be a child nibbling on his toy and thoughtfully spreading his spit on his clothes, or the sugar quietly trickling onto the round table in front of the snack bar.

Suddenly the action is there, and I don't realize until later that my hands are pouring out the sugar jar on the table, and I - just as the child keeps slapping his slobbered-on toy on the frame of the stroller, only to put it back in his mouth - am sticking out my tongue and licking up the spilled sugar, little by little, and my tongue is touching the table over and over again. Without me thinking about what's happening. It doesn't matter who touched the table before or what else happened to it. I don't perceive all that at that moment. I only feel the urge to perform this action immediately. Afterwards, it is as if nothing had happened, and it doesn't matter what other people think.

It takes overcoming and courage to dare and try things, no matter how small or big they are. These can be simple things like open communication with strangers or even jumping off a 3-meter board. I would like to practice overcoming with you in a personal discussion about conversations and about actions resulting from them.

30. MAI, 14:59 UHR BIS 16:41, 5,9 KM, MÜNSTER, 56 PERSONEN

Venice, 2014
performance, 102 min.

I walk along Studtstraße, Finkenstraße, Heerdestraße, Kleimannstraße, Promenade, Schlossplatz, Weselerstraße, Blumenstraße, Weselerstraße, Moltkestraße, Marks-Haindorf-Stiege, Weselerstraße, Wilhelmstraße, Orleans-Ring and Horstmarer Landweg, in Münster. In doing so, I stand in front of the people I meet, look them in the eye, touch individuals and tell them what I feel when I meet them.

ENGLAND, SCARBOROUGH, NORTH BAY CLEVELAND WAY

2013, Scarborough
performance, 2´35 min.

I start building a sandcastle and all the time I keep looking at a family that is nearby and also building a sandcastle. A competitive situation builds up, which is controlled only by my glances. The family starts to build their castle faster. In the end, I get up and walk away. The children come running and trample my castle.

CRANGE-WANNE, LUTHER CHURCH, EVANGELIC CHURCH COMMUNITY, CONFIRMATION CHURCH

2013, Wanne-Eickel
performance, 21 April 2013, duration: 1,03 hours

I sit on the bench in the church and look at people who interfere with the sound of the church service through the use of cell phones and cameras. Whenever one of these noises becomes audible, I acoustically amplify another sound that is generated by people around me and imitate it. That can be the shuffling of feet, a sneeze or a cough, anything audible.

Mixed media

FLAGS STAGED

2018

1988-1992/ ongoing
Drawings

Ich hörte das Hupen und Schreien als ich an meinem kleinen weißen Kindertisch saß mit dem Wachsmalstift in der Hand. Ich lief zum Fenster und sah hinaus. Der Stift in meiner Hand wurde warm, den als ich auf meine Hand starrte war sie ganz gelb. Unten auf der Straße fuhren viele Autos hupend hintereinander her. Einige lehnten sich aus den Fenstern und schwenkten Fahnen. Ich kannte diese Fahne. Sie zeigte die Farben Schwarz, Rot und Gelb. Ich hatte sie gemalt. Bald waren die Schreie und hupenden Autos nicht mehr zu hören und die Straße war wieder leer. Ich ging zu meinem Tisch und setzte mich wieder auf den Stuhl. Ich sah auf mein Blatt Papier und dann zu den bröckelnden Wachsmalstift in mein- er Hand und malte weiter. In die Mitte des weißen Papieres malte ich mit gelb einen Fleck der aussah wie eine Hand deren ausgestreckter Zeigefinger nach rechts oben zeigt. Auf dem Papier gab es schon zwei grüne Zweige direkt darunter. Ich malte gerade die Flagge Zyperns

Es war ein Sonntag und der 8. Juli 1990. Deutschland ist an diesem Abend Fußballweltmeister geworden. Das ist meine erste bewusste Erinnerung aus meiner Kindheit. Meine Schwester sagte mir ich habe wohl 1988 angefangen die Flaggen aus ihrem Lexikon abzumalen. Ganz genau kann sie sich aber nicht mehr erinnern. Bis 1992 malte ich alle Flaggen aus diesem Lexikon ab. 203 Flaggen: unabhängige Länder, abhängige Gebiete, Länder die welche sein wollten, aber keine waren und Flaggen von Ländern die es heute nicht mehr gibt. Genauso wie meine gemalten Flaggen. Sie verschwanden 2003 als meine Eltern in eine andere Wohnung gezogen sind. Seit dem 28. April 2018 male ich sie neu. Ich male sie wieder von dem alten Lexikon meiner Schwester ab mit Wachsmalstiften auf weißem DIN A4 Papier. Komm mich besuchen und Du darfst dir eine aussuchen.

YOU DON’T KNOW ME AND I MAY NOT KNOW YOU BUT …

2015

since 2015, continuously
Text on postcard, 10.5 x 14.8 cm (selection: 7 of 234)

I write a postcard with a story from my life to people I don’t know.

“When my grandmother spoke of my uncle in a choked voice, she always called for Pucki, my uncle’s dachshund. He would have drowned too, together with Helmut. But that’s not true, the dachshund ran away.”

MARLIES (Selection)

2012-2013

material: photos, texts, edding

Ich fand in einem Schrank die Polaroids meiner Mutter. Mein Vater versteckte sie. Meine Mutter wollte keine mehr sehen. Ich sortierte sie und führte Gespräche mit ihr über die Polaroids und ihr Leben. Danach schrieb sie unter die Fotos die Erzählungen nieder. Sie hat kaum Kraft zu schreiben.

Kollaboration

STAGEWORK 11 12 13 et al

2021

Artistic direction/concept/co-author: Manuel Talarico 
Co-author: Franziska Jürgens
mentor/co-author: Bernice Lysania Ekoula Akouala & Stephanie Sczepanek 
Mentor/Choreography: Eng Kai Er

(…) mein Onkel hatte auch einen Klon, seinen Zwilling, der kurz nach der Geburt verstarb. Ebenso starb sein älterer Bruder, als sie noch Kinder waren, 1962. Er war neun, der Zwilling, der überlebte, vier, Mama zehn, meine Tante dreizehn. Der große Bruder erzählte dem kleinen von den Sternen, wenn sie in Sommernächten in den Maisfeldern lagen. Der Kleine wurde Ingenieur und gab die Faszination an Flugzeugen und Raketen an seinen Patensohn weiter. Dieser, mein ältester Bruder wiederum hat mich mit dem Science-Fiction- und Weltraum- Faible angesteckt…und das alles geht möglicherweise auf den Onkel zurück, der neunjährig starb? (…)

11 12 13 et al works with multi-perspective storytelling, multi-directional story and biography. How do we tell our own biography, what are your stories, what should our stories be?

This research and writing project started out of a certain perplexity as to whether the artistic practice of appropriation and remix might stem from an internalized consumerism that - unconsciously perhaps - does not even stop at the fates, biographies and cultural practices of others? What does this do to the consumers, to the consumed?

YOU DON'T HAVE TO FIGHT FOR ANYTHING THAT COMES VOLUNTARILY STAYS AND EVERYTHING ELSE GOES ANYWAY

(together with Laura Mareen Langemann)

2018

Münster, 2.-4. February 2018
performance, duration: 3 days, 20-30 min

We are in a car. The back seat is empty and the passenger door is open. We wait until someone gets in the car and closes the door. One of us starts to drive and the other turns and looks at the person for a long time without speaking. She climbs on the back seat between the front seats and sits close to the car door, as far as possible from the person sitting next to her. She moves closer to the person until she can no longer move further. Everyone decides how close they get to each other. After a short time the car stops and drives backwards. The further the car goes backwards, the more you move away from the person. During the journey the door is opened and you get out and walk away.

WE LOVE TO SLEEP NEXT TO THE PERSON WE LOVE

2017

(together with Laura Mareen Lagemann)

OPEN HOUSE SPEICHER II / ATELIER 1.7
Münster, 2017
two performances, one with the material: mirror glass and seven rods made of metal and wood, in chronological order

Dimensions:
Bars: 2-7 m
Mirror glass: 1 x 1 m

duration: 3 days, 20-30 min

Ich ziehe sieben unterschiedliche Stangen von der einen Seite des Raumes, durch meine Kleindung, an meiner Haut entlang, zur anderen Seite des Raumes, dem Betrachter entgegen.

THE BEST WAY TO GET TO KNOW YOURSELF IS TO TRY TO UNDERSTAND OTHERS

2017

(together with Laura Mareen Lagemann)

SPEICHER II, Münster, 2017

I draw a line with my eye, the other remains closed. I kneel on the floor and hold a sheet of glass in front of my body. I look through it and use my eye to outline people entering the room.

WHO DOESN’T ASK IS NOT SEEN

2016

(together with Laura Mareen Lagemann)

EMSCHERKUNST Dortmund,
performance, duration: 28 days

In jeder dritten Woche während der vier Ausstellungsmonate der Emscherkunst waren wir immer gemeinsam 24/7 im Unionviertel in Dortmund unterwegs (Termine: 20.–26. Juni, 18.–24. Juli, 15.–21. August und 12.–18. September). Dabei begegneten wir Menschen, sprachen diese an und lernten sie kennen. Mit Hilfe von Peilsendern wurde unser aktueller Aufenthaltsort auf der Internetseite www.wer-nicht-fragt-wird- nicht-gesehen.de (deaktiviert, da Aktion abgeschlossen) angezeigt. Jede unserer Bewegungen war somit öffentlich, unsere Spur durch das Viertel konnte von Jedem verfolgt werden und Jeder konnte uns aufsuchen. Wir wurden mitgenommen und gefunden und wurden im Viertel aktiv wahrgenommen. Je nach Situation haben Gespräche, spontane Aktionen oder performative Interventionen stattgefunden die unterschiedlich lang dauerten – von wenigen Minuten bis zu Tagen. Während dieser Performance, die uns dazu bewegte uns auf fremde Menschen einzulassen, die uns in ihr Leben liessen, fiel uns auf wie unerwartet Intimität entstehen kann, wenn man für eine gewisse Zeit nur existiert um für Jemanden da zu sein. Wir wurden zum Geburtstag eingeladen, kauften im Namen des Sohnes Geschenke für die Mutter, waren dabei, als sich Jemand durch uns motiviert dazu traute, seine Freundin zu verlassen und gruben mit einem Rentnerpaar ihren Garten um, tauschten geschenktes Sexspielzeug eines ORION-Ladens auf dem Rewe-Parkplatz gegen Geheimnisse, schliefen im Schaufenster eines Ladens und wurden zu momenthaft wichtigsten Bezugspersonen. Es folgten unzählige Momente mit Menschen, die wussten, dass sie unsere Gesellschaft, Unterstützung und Zuneigung zu jeder Zeit in Anspruch nehmen konnten. Und das nur, weil wir uns durch die Aktion einen Zeitraum setzten, indem wir nichts anderes taten als das. Wir waren abhängig von einem unbekannten Umfeld, das uns mal Schlafplatz und Wohlwollen bot und mal nicht.

ART AND CURRYWURST

(together with Fabian Nehm)

2016

Westpark Dortmund, 2016
Performance on 22. july 2020
as part of EMSCHERKUNST 2016

ArtistRunSpace from Charlotte Frevel and Fridolin Mestwerdt

Currywurst and art? That’ll do! Two Ruhrpottlers clean up! One has years of experience working the grill at Schalk e 04 football matches, the other took first place in a winter barbecuing competition.

Who, if not they, can bring the currywurst into art!

aI!aI!aI!

(together wIth Manuel TalarIco)

2011

Wewerka Pavillion, Münster
Action from April 6th to May 8th 2011

Not far from the ALL-WETTER ZOO in Münster, and located directly at the Aasee, a privately operated zebra reserve opens for a period of five weeks. After Petra, the black swan, “Gasasoo” will become the new attraction at the Aasee for young and old in Münsterland.

The children will flatten their noses on the windows, the parents will scratch their heads in amazement. Some will notice it directly, for others it will remain a fleeting note. We do not present the wolf in sheep’s clothing, but the donkey in paramilitary camouflage.
The news went around the world in : At the zoo in Gaza, two white donkeys were painted like Zebras because the real zebras were killed in an air raid. However, in keeping with the end of the month of Lent, the children in the ravished region could at least be given a little joy. With a simple gesture we bring this collateral damage, which arises from complex historical and political contexts, into the consciousness of the contemplative cathedral. This story is so bizarre that life itself could only write. And because it is beautiful and yet ambiguous, we would like to retell it in Münster, an affluent city known as the city of wellbeing.