Antonia Low
LIFT Part #1: Interior Body
Lift, 2011

image: ingo Gerken, 2011

Antonia Low's installations simulate the infrastructure that underlies everyday life. They function as intriguing remains of activities that have taken place, resembling sites under construction or excavation, instances of repair or refurbishment and other familiar disruptions of our physical surroundings. For BORN AFTER 1924, Low has dissected the gallery lift shaft allowing visitors to travel in it, revealing its mechanics and its strong perpendicular resolution. On the preview evening the lift was operated by a ‘lift operator’ in smart attire and museum gloves. All but one of the panels are placed elsewhere in the gallery leaning horizontally against the walls as though extracts from a Minimalist painting. The final panel is presented as the pictorial condensation of the lift’s spraying of mechanical oil ‘created’ by the lift’s repeated movements over a number of years; in addition, the screws from the lift’s panels have been strung together as though a rosary.

Gregor Schneider
Mann liegend mit steifen Schwanz - Man lying down with stiff cock
Cast, mixed media, 2004

image: ingo Gerken, 2011

Gregor Schneider’s most well known work is Haus ur (started 1985) in which he created replicas of the existing rooms by building complete rooms inside other rooms, each consisting of furniture, walls, sound insulation, ceilings and floors. As a result the rooms become smaller with each layer, their proportions altered to the extent that the doors to some of the rooms will never open again creating both a sense of oppression and psychedelic effect. Mann liegend mit steifem Schwanz continues Schneider’s preoccupation with death, the uncanny and the challenging of social taboos.

Ingo Gerken
We die
Art magazines, chair, 2011

image: ingo Gerken, 2011

Madeleine Boschan
Ism isn’t
Metal, aluminium, neon, plastics, 2011

image: ingo Gerken, 2011

Madeleine Boschan works with materials such as wood, glass, plastic, and every day objects found on the street that undergo a process of dismantling and assemblage. The objects are consequently sprayed with car paint consolidating the disparate objects within the structures’ surface like a stretched skin. A feeling is illuminated and transposed to a sculpture that presents a conjoined thought, simulated objects and the disappearance of time which in turn gives the work a sense of tangibility. The objects reference their primary function, but their implication is obliterated in favour of a new context. Boschan often uses Venetian blinds within her work that introduce a dynamism between objects simultaneously concealing them as well as conceiving new circumstances or configurations from our subconscious. The sculptural formations are hybrids that oscillate between ruin and interior, morbidity and elegance.

Matti Isan Blind
Looking for a ride to your secret location
Table, chair, glass, mirror, clay, metal, wood, stone, motor, 2010

image: ingo Gerken, 2011

Matti Isan Blind explores the territory of the real and the symbolic creating sites of convergence for interpretation, representation and transformation. His work incorporates drawings, photographs, objects and various responses to the white cube discourse. Looking for a ride to your secret location comprises of artifacts with a ritualistic or folk art aesthetic quality. Blind Spot is a pile of art magazines with a set of keys – including the key for Schwitters’ Merzbarn in Cumbria - that rotate and squirm sporadically. Citing analytical psychologist Carl Gustav Jung and surrealist films as some of his influences, the disparate objects that are both facetious and uncanny, are brought together for one passing moment in an extension of time, that he describes as a “magic trick presenting itself in unexpected ways”.

Kurt Schwitters & El Lissitzky
Merz Issue 8/9, Nasci, 1924 (Re-print, 1975)
Courtesy of Kurt und Ernst Schwitters Stiftung, Sprengel Museum,

image: ingo Gerken, 2011

Tim Noble & Sue Webster
Trash and personal items, wood, light projector, 1999

image: ingo Gerken, 2011

Tim Noble & Sue Webster often use light projections and discarded materials to create elaborate sculptural installations and self portraits often inspired by a punk sensibility looking at the mechanics of the media and advertising industries. TrashHeaD shows the profiles of the artists morphed into one, made from plastic toys, objects from discount stores and empty packaging. The piece was originally made for their late friend, magazine editor and style icon, Isabella Blow who had given Noble and Webster the empty box of Haemorrhoid cream visible at the front of the sculpture.

Rainer Ganahl
DadaLenin NY Times Dadadeath
Ink jet print on paper, 2008

image: ingo Gerken, 2011

Rainer Ganahl’s work can be categorised into three main areas of practice including seminars and lectures and his language studies that engage with, and critique the different systems of education. DadaLenin is Dead – Obituaries feature the obituaries of Dada artists as found in the New York Times archives. During a residency that Ganahl carried out at Cabaret Voltaire on Spiegelgasse (Mirror Street) in Zurich - the birthplace of Dada during the First World War – he carried out research into Lenin’s involvement with the Dada artists during which some of the most important Dada activities took place. Ganahl has read aloud the obituaries as a performance inspired by Dada performances where the artists read out the names from a telephone book. Notably, possibly due to Schwitters’ disassociation from Dada the ‘movement’, as an anti-Dadaist, his obituary was not featured in the New York Times.

Reto Pulfer
ZR Der Exhibitionistische Eulenpinguin - ZR The Exhibitionist Owlpenguin
Textile, zipper, watercolour, 2008

image: ingo Gerken, 2011

Reto Pulfer puts himself through “physical avalanches”, banging his guitar and shouting, integrating the sound of falling sculptures with his music and the words of his drawings echoing early Dada free-form structures in an attempt to exploit art’s infinite possibilities of expression and communication. Generating a sense of immediacy Pulfer blurs the boundary between artwork and viewer, conscious and subconscious. Instrumente is an installation and sound piece that is heard intermittently as one navigates the gallery space; its dissonant notes and chords produced by the ‘instruments’ made from sticks, metal rods and wires. Constructing his own dictionary, ‘ZR’ in ZR Exhibitionistische Eulenpinguin indicates the inclusion of a zipper that enables the artist to attach and detached the fabric reconfiguring it with each presentation. Influenced by Bataille, in particular the novel Story of the Eye, Pulfer is not as concerned with the production of ‘meaning’ in his work, rather how his works are to be ‘used’.


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