Zuber Port.Pdf

Benjamin Zuber index

--- HUNT-A-HINT / solo show at Kunstverein Paderborn, 2014 --- SUPER WILD ASS GUESS / solo show at Blackbox Gallery, Copen- hagen, 2013 --- united / bavarian funding for graduates, Nurem- berg, 2013 --- Der Schachtürke / Installation and Performance with Sebastian Tröger at das weisse haus, Vienna 2013 --- smart answers to stupid questions / solo show at Blackbox Gallery, Copenhagen, 2012 --- Doppelknoten / solo show at frappant, Hamburg, 2012 --- Platzhirsch / solo show at CirkulationsCentralen, Malmo/Sweden, 2011 --- Aus Kindern werden Leute / installation, Münster 2013 and Erlangen 2007 --- selected pieces / 2010-2012 --- HINT HUNT–A– Benjamin Zuber HUNT-A-HINT Kunstverein Paderborn 4.9.-19.10.2014 Hollywood dreiteilige Installation: Teil 1: Finale Seite der Aufbauanleitung einer Hollywoodschaukel (made in China) Teil 2: Kakemono Werbeaufsteller mit fiktiver chinesischer Kalligraphie (Tusche/Büttenpapier) Teil 3: Modifizierte Originalteile der Hollywood- schaukel, gelegt auf Blumenerde

L‘heure de la soupe Videoloop, s/w, 6‘45“ Der Protagonist vollzieht im traditionellen Kung Fu Gewand mit zwei schwarzen Stangen eine undurchschaubare Choreographie vor der Pro- jektion eines Stummfilmes von 1925. Sobald die Darsteller des im Film projizierten Stummfilmes – zwei Nonnen, ein Abt und ein Koch – beginnen, pornographischen Handlungen nachzugehen, werden die beiden „schwarzen Stangen“ des Kung Fu Protagonisten als Maglite- Taschenlampen identifizierbar, mit deren Lichtke- geln er versucht, die pornographischen Bereiche der Projektion zu überstrahlen.

Bruce Objekt „Bruce Willis“-Parfum in einem allseitig geschlos- sener Glaskubus aus mehrfarbigem, verschieden strukturierten Glas auf einer zum ovalen Sockel gebogenen Spanplatte Overseas Objekt Schaukelstuhl, gebaut aus sämtlichen Bestandteilen einer abgenutzten Europalette Laserkopie a part for the whole Objekt Holz und Fototapete; Bruchstück des Innenaus- baus eines ehemaligen Münchner Clubs THUNDERBEAM Installation Bitumenbahn und Gewebeklebeband Hunt-A-Hint (Angelina) Installation 25 m2 Artikel über Angelina Jolie aus diversen Illustrierten index

SUPER WILD ASS GUESS dude (with enthusiasm): Did you hit that awesome chombo last night? I feel like a rebeka this morning. … pondering … Would you consider me a celebrity? other dude: To bear or not to bear. roaring laughter dude (indignantly, but laughing): Shit was japes last night, man. Go buy me a soda. other dude: Perez Hilton reported that Zac Efron is gay. dude (angrily): That dirty goomba is nothin but white trash, can‘t you see that? other dude: Stupid is awesome. silence dude: But what‘s that ugly piece sitting over by the dumpsters? (Laughs lustily) other dude (laconically): I got hella swag. exit, pursued by a beer

NO STRINGS ATTACHED (Video, 15‘01“, no sound)

Although the video has no sound, the four protagonists obviously act like a boyband. It can be spotted easily that the guys are all the same and that „they“ are trying to imitate the dancing moves of a boyband in respond to the projection of a live gig of a real boyband in the right corner. While they neither seem to be very talented dancers, nor the dancing moves seem to be practised – and even though they never really were together on stage (as they‘re all the same guy), it never- theless sometimes works that a few moves are synchronized. The fifth protagonist is the stage itself: It quickly turns out to be a simple but sculptural assembly where nothing is fixed. So there are a lot of small alterations caused by the moves of the dancers. Through its duration of 15 minutes and three different dances/songs, the video itself again becomes something like the documentation of a concert (wi- copy/paste for video on vimeo: thout sound). https://vimeo.com/83404345

NOT NO HORRORCORE SHIT (Video, 10‘14“)

The protagonist (me again) tries to rap the original text of the track „Sexstyle“ by the rapper „Kool Keith“ on the original instrumental version by rea- ding the lyrics from a screen. Beginning with no practise and no knowledge of the lyrics he did the same three times and always just captured his mouth by the use of an iPhone. Afterwards he used the webcam of a computer to record himself holding the iphone with the recor- ding in front of his mouth. While, of course, every version is strongly affec- ted by the bad rapping skills and german accent of the protagonist, there can still be recognized a transformation of the character. Knowing the lyrics better resulted in paying more attention to the acting and changing the angle of the iPhone in some weird transformations of the face. copy/paste for video on vimeo: https://vimeo.com/78037836 MIDNIGHT FANTASY (Installation with various objects made of perfume, glas boxes and sparkling wine) PARIS left to right: DITA, USHER, AVRIL, RIHANNA

CANDYCRUSH (Videoloop, 5‘49“)

RAINBOW POTNAZ (Installation and Videoloop, 35‘)

Collection of 140 Oldschool Underground Rap Covers, sorted by color, projected as Coverflow. Benjamin Zuber

SUPER WILD ASS GUESS

28.9. - 18.10.

Opening: Friday 27.9, 5-8 PM Hours: wed-fri 12-5, sat 1-4

Fredericiagade 14 kld. 1310 Copenhagen www.benjaminzuber.com www.blackboxgallery.dk index

Contemporary Daily Die Papierbuchstaben des Schriftzugs werden mit Was- ser an die Wand geklebt. Sobald das Wasser getrocknet ist, fallen sie wieder ab.

United Handtücher von befreunde- ten Künstlern, mit Ösen ver- sehen und zu einem großen Banner verbunden. Jedem Handtuch ist ein Strei- fen entnommen, aus dem ich für den jeweiligen Künstler ein Freundschaftsband geknüpft habe. Die Leerstellen habe ich mit Stücken aus eigenen Handtü- chern wieder gestopft.

All Gold Everything Ein goldener Servierwagen wurde zur Hängeregistratur umkonstruiert. In einigen der Registermappen befinden sich Absagen von Bewerbungen zu diversen Wettbewer- ben und Stipendien. Hinter dem Wagen steht eine unverputzte Wand, konstruiert aus zwei Reihen aufeinander gestapelter gebrauchter Museumsstellwände, in leicht spitzem Winkel zur Hallenwand. Die Wand dient gleichzeitig als Gehäuse für einen mp3-Player, der kontinuierlich das Stück „All Gold Everything“ von Trinidad James über einen Kopfhörer spielt. Während man am Kabel hängt kann man also zur Musik bouncen und dabei gleichzeitig in den Absagen blättern.

Ausstellungsansicht Rechts im Bild ist eine Arbeit Marcel Grosse. Im letzten Raum der Ausstellung stehen sich zwei Tische gegenüber. Auf dem hinteren Tisch befindet sich deverses Material von Marcel Grosse, auf dem vorderen liegt lediglich ein Foto, das einen Installationshot des vorderen Bereichs meiner Installation zeigt. Der vordere Bereich der Installation ist so konzipiert, dass er einen möglichst perfekten Installationshot ermöglicht – obwohl die Arbeiten ohne zusätzliche Informationen auf einem Foto eigentlich gar nicht erschlossen werden können. Die eingezogene Wand trennt den hinteren (und auf dem Installationshot nicht sichtbaren) Bereich der Installation ab. Den im vorderen Bereich leicht stump- fen Winkel der Wand (100°) nimmt man auf dem Foto Deckblatt: United (Detail) kaum wahr – der Raum wirkt noch etwas weiter und die Überdimensionales Freundschaftsband aus perfekt verputzte weiße Oberfläche der Wand wird zur Streifen eines Handtuchs. Kulisse des Installationshots. Die unverputzte Rückseite der Wand verrät ihre Her- Dieses Heft dokumentiert meine Arbeiten in der kunft: Es handelt sich um zwei Reihen aufeinander Ausstellung: gestapelte, gebrauchte Stellwände aus einem Museum. Marcel Grosse & Benjamin Zuber Die Wand schattet den hinteren Bereich der Halle ab Ausstellungshalle der AdBK Nürnberg und der hier spitze Winkel lässt den Raum zusätzlich vom 14.5. bis zum 29.5.2013 enger erscheinen. anlässlich der bayerischen Debütantenförderung Wenn sich die Wand spätestens auf der Rückseite also als skulpturaler Einbau entpuppt, kann sie im nächsten © München 2013, Benjamin Zuber Schritt als Gehäuse für den Audioplayer und „All Gold http://benjaminzuber.com Everything“ verstanden werden. index

--- HUNT-A-HINT / solo show at Kunstverein Paderborn, 2014 --- SUPER WILD ASS GUESS / solo show at Blackbox Gallery, Copen- hagen, 2013 --- united / bavarian funding for graduates, Nurem- berg, 2013 --- Der Schachtürke / Installation and Performance with Sebastian Tröger at das weisse haus, Vienna 2013 --- smart answers to stupid questions / solo show at Blackbox Gallery, Copenhagen, 2012 --- Doppelknoten / solo show at frappant, Hamburg, 2012 --- Platzhirsch / solo show at CirkulationsCentralen, Malmo/Sweden, 2011 --- Aus Kindern werden Leute / installation, Münster 2013 and Erlangen 2007 --- selected pieces / 2010-2012 --- (1) Maschinen, die selbstständig Funktionen ausführen, (2) Roboter, die sich gegen ihren Erbauer auflehnen, (3) Automaten, die höhere Intelligenz als ihre Schöpfer haben und sie lieben und schüt- zen, (4) Vergleiche oder Identifikation des Menschen mit der Maschine, die Freiheitsverlust andeuten.

Der Schachtürke Sebastian Tröger & Benjamin Zuber

„Schon die Verbindung des Menschen mit toten das Menschliche in Bildung und Bewegung nachäffenden Figu- ren zu gleichem Tun und Treiben hat für mich etwas Drückendes, Unheimliches, ja Entsetzliches. Ich kann mir es denken, daß es möglich sein müßte, Figuren vermöge eines im Innern verborgenen Getriebes gar künstlich und behende tanzen zu lassen, auch müßten diese mit Menschen gemeinschaftlich einen Tanz aufführen und sich in allerlei Touren wenden und drehen, so daß der lebendige Tänzer die tote hölzerne Tänzerin faßte und sich mit ihr schwenkte, würdest du den Anblick ohne inneres Grauen eine Minute lang ertragen? Aber vollends die Maschinenmusik ist für mich etwas Heilloses und Greuliches, […] und [so] wird der geist- und empfindungslo- seste Spieler noch immer mehr leisten als die vollkommenste Maschine, da es nicht denkbar ist, daß nicht irgend einmal eine augenblickliche Anregung aus dem Innern auf sein Spiel wirken sollte, welches natürlicherweise bei der Maschine nie der Fall sein kann.“ (aus: E.T.A. Hoffmann, „die Automate“) Onlinedokumentation: http://benjaminzuber.com/schachtuerke

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cover image: two bad jokes balancing on each other 2012, Object and Film A transparent hose forms the dumb wordplay „cool ass eyes“ (in reference to the 1977 For- eigner hit „cold as ice“) while it at the same time seems to be a defect neon sign.

the ultimate solution. So that’s the point, cal if you get into it; but at the same time, as personal preferences obviously affect my a beholder you are even somehow forced to work, although I try to avoid this. look at it from the distance you need to spot After all, I think the main focus of my work the internal logic. And according to the idea some answers is about researching the border of being of an artwork being a model, this is a possi logical, let’s say I’m looking for different ble way to research human logic in general. to some questions forms of appearance of internal logic. Just to give a concrete example: One me At the end, I think everything connected thod I like to use is to bring things together to a human being is in one or the other way – things that don’t necessarily fit together. about internal logic. I like to use materials and techniques in a Questions by Peet Thomsen, answers by Benja- need to realize the piece. While working on So if you look at sciences, it’s all about way they aren’t normally meant to be used min Zuber it, I choose the location in the venue that finding the truth and proving all know – which brings them close to failing. In the best suits it and find doable solutions for all ledge through the use of logical structu end I try to find a technical solution which Peet: Could you tell a bit about your back- the new technical problems, which always res. Humans even try to find the logic in is on the one hand totally illogical, since the ground ? appear at that stage. Finally the process something incomprehensible like love or used materials are close to failing at their Benjamin: I studied in several places, inclu ends with the documentation. Then the other emotions. Sometimes it happens that claimed function, and on the other hand to ding the Academies of Fine Arts in Nurem new work really feels completed. new insights cause a completely new per tally logical, as they are now forced to their berg, Karlsruhe and Vienna. I finished the spective and question the formerly proven maximal performance. degree in Nuremberg while I actually lived I have read that you work as a conceptual “truth”. So I think finally every logic offers and worked in Vienna. At the moment I’m artist. Can you tell me a bit about that? something like a mental framework for a You have been an artist in residence at Black working in Munich, since I got a funded I avoid using this phrase myself. Usually I better understanding of things. You just Box Gallery and made works precisely for this studio space there. But I try to be agile and tell people I do installations, since I think have to look at it from a distance far enough exhibition. do things in lots of different cities. Because the viewer has to come across the conceptu away to recognize the internal reference of There is one idea, which is the main concept I finally realized the majority of my works al aspects by himself. every logic (which of course may never be for the exhibition. That is to make drawings directly at the exhibition space, I don’t give For me one of the main conceptual aspects possible for humans in some aspects). of every work I am going to show. They in the actual location of my studio that much of the works is that they are a model of a For me, that’s the great thing about fine a way look like a conceptual drawings or importance. thought or concept. They are a sketch for arts: Here it’s just possible to find solutions sketches for the works. In fact, the drawings something else. In general I like the idea where every aspect seems to be totally logi are made after the work has been comple Why do you like working in the gallery space? of understanding artworks as a model for Well, many of my works are based on ideas, something else. which I carry with me for months or even I think arts in general are the only instance years. I do a lot of conceptual research and that can provide a kind of an external per spend lots of time looking for materials spective of things that are going on in the and technical possibilities. Apart from the world and society. Maybe it’s the main research, I mostly just try different things in difference between visual arts and other my studio and develop practical solutions disciplines like literature or music - to find for the piece I work on. a way of seeing things through a form – like Usually I’m waiting until an “idea in pro objects in space. gress” fits the situation and space of an So I always try to find the most obvious way upcoming exhibition. At that point a lot of to transform an idea or a thought into ano additional aspects affect the further work, ther – and then physical – appearance. and sometimes the piece even turns out to If it feels like I’ve found the matching solu be completely site-specific. tion, the artwork should be like a claim that Moreover, I also do like the practical as it is the best or even the only working way pects of finalizing an artwork inside the ex of representing its underlying idea; while hibition space: I can start at an empty space I know that this is also a way of fooling and just get the tools and equipment that I myself, as the result may not objectively be ted and include short phrases which make ty produce an artistic object there is also the it possible to understand all conceptual idea of a confrontation of the processes of content of the corresponding work just by producing art and making music behind it. looking at the drawing. The idea is that the audience can come Could you tell about some of the other art- in and see the drawings which hang just works. to the right of the entrance. In this way Well, of course I looked at the former exhi the viewer can immediately comprehend bitions as well as I had the primary focus of the whole exhibition and leave the gallery the gallery on new media art in my mind; es again. Hopefully he will stay and see the pecially because those two facts constitute physical manifestation of the ideas. But an important part of the context of my own then the true pieces are brought back to exhibition. So while I tried to use the men their formal appearance, since you could tioned drawings to make the works look find all the conceptual thoughts already more formal than they actually are, with in the drawings. Drawings may be a very the intention to let the whole show kind of common view in a gallery; but this time I oscillate between notions like formal and just used them to make the real artworks not formal, conceptual and not conceptual, more formal. I also tried to make the same in reference So, I tried it in a double way to make an to your gallery focus: Doing new media art artwork out of a concept: On the one hand while working with the total absence of it at there is the finished piece, on the other the same time. hand there is the drawing. That brings up You can see this approach best in this work the question if it’s even necessary to have called “Two bad jokes balancing on each the finished pieces. other”. At first it looks like a defect neon piece – but on a closer inspection you’ll Could you tell me something about your piece quickly realize that it’s just made out of a “quartet”? simple PVC hose and some wire and has no It’s probably a good example for the the electricity at all. The second bad joke then oretical thoughts we talked about: On the can be found in the lettering, which says one hand the apparent circle of internal “cool as eyes” instead of “cold as ice” (what logic is easy to spot. You can see four guys refers to the Foreigner smash-hit from in the projection, looking and acting like a 1977). classical string quartet while they in reality I think a neon artwork is usually connected just produce the screen the projection is to both fields, new media art because of its projected on. high-tech appearance as well as conceptual But there are also other levels of meaning art, because of the possibility to transport a outside of this strict concept. The guys are strong conceptual message, concentrated wearing masks, which makes them look in an assemblage of some words. In this kind of strange. And it’s obviously hard case the appearance just seems to be high- to cut the wood while using the saws like tech as well as the lettering just sticks to a string bows; which even adds to their per stupid wordplay. The work itself of course formance some moments of slapstick. Ano not only remains a conceptual artwork, but ther point is the absence of sound, which is also a work on conceptual and new media enables that you can imagine both: The art. sound of the saws as well as the anticipated So, finally the balancing act between those music and something like an imaginary two bad jokes becomes just another model rhythm. And while the protagonists in reali of internal logic.

Quartet 2012, Object and Film A film shows four strange guys performing as a string quartet – while they actually just cut the wooden pieces for the screen the film is projected on.

Assembling 2012, Performance and Object A lightbulb will be mounted on the ceiling by the use of hot glue and then melted by the bulbs heat. After the performance it remains as an object – as long as it isn‘t switched on again. Tubing 2012, Installation The lighting of the gallery has been rearranged. Player 2011, Object A DVD player continues its own weird design on the screen it features. Race / 2011, Object and Film A film shows three jigsaws racing against each other. The board they cut is now an object in the exhibition space. straightened 2012, Objects and Prints Several wooden sticks are cut in pieces – and afterwards bonded together again to straighten them as much as possible in order to gain some height. During the exhibition they were stuck to the floor of a wet backroom and available on a price per centimeter, together with a print which shows their original appearance. bucks 2012, ongoing Edition One-dollar bills from the United States are used for producing hand-made paper in an unlimited number of several editions. Each piece is available for $100. Backroom Residency 2012, Performance and Installation During the opening hours of the gallery the backroom residency can be seen through the door window.

Imprint: This booklet is published for documentary purpose of the exhibition:

Benjamin Zuber smart answers to stupid questions open to the public from August 24th to September 15th 2012 at Blackbox Gallery, Copenhagen.

Interview on pages 6-8: Peet Thomsen and Benjamin Zuber Photos and all other Texts: Benjamin Zuber

Raum Eins S. 2-13 Raum Zwei S. 14-19 Raum Drei S. 20-28 verlorene Form Nr. 1 / Folie auf Wand Raum Eins 132 133 ohne Titel (Gips) / Gipsobjekt und Filmprojektion Im Film ist ein Sack Gips zu sehen, der auf einer Eisscholle im Meer liegt. Immer wenn die Wellen den Sack überspülen, wird er schwerer – bis die Scholle schließlich bricht und der Sack versinkt. Der Sack Gips wurde nach der Aufnahme geborgen, getrocknet und ausgepackt und dient nun als Projektionsfläche für den Film.

136 137 most commonly used / sieben Krawattenknoten aus Lochband, Geschenkbänder, Dachlatten 139 links: Der American Knoten / rechts: Der Four-in-Hand Knoten 140 141 Raum Zwei 143 verlorene Form Nr. 2 / Papier auf Wand Race / Spanplattenobjekt und filmische Dokumentation eines Stichsägenrennens 144 145 Lightbox / Spanplatten (von innen hauchdünn geschliffen), Leuchtstoffröhre, Kabel 147 Raum Drei Somewhere over the Rainbow / Reinigungsschwämme, benutzte Gläser, Glasplatte, Haushaltsgummibänder 150 151 selfbraking Laths / Dachlatten, aus den Dachlatten geschnittene Keile, Rollen, Rallyestreifen aus Klebeband Impressum: Dieses Heft erscheint zur Dokumentation der Ausstellung: Benjamin Zuber Doppelknoten vom Februar 2012 im Frappant e.V. Hamburg Fotos und Texte: Benjamin Zuber Auflage: 125 © München 2013, Benjamin Zuber www.benjaminzuber.com

153 rechts: Doppelknoten / Zeichnung // Rückseite Cover: verlorene Form Nr. 3 / Wandfarbe, geschliffen

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Platz- hirsch

Noun, masculine / Stag who dominates his rivals at the rutting ground and leads the pack / colloquially transferable to persons or companies;

Various aspects of human territorial behaviour are analyzed within a narrow spatial assembly. Static warfare between fetish and shame clashes with the privacy between monopolism and megalomania. The space between bourgeois clichés and military tagging becomes the theoretical display for questions at fine arts. The interface between mobility and pop-up-architecture is manifes- ted as the Platzhirsch‘s golden horn: The whole show came by train. 6 4

1 Malmo/Sweden

1 Heimwerk | „Schiesser“ Undershirt, ingrain wallpaper (corrugated by wire), various pain- ting accessory

2 3 Hedge | IKEA shelf-support-crosses „Observatör“, zip tie, artificial leaves

The Hedge is a symbol for the little guy‘s border. It‘s made of shelf-supporting crosses which come with a regular billy shelf – and therefore they can be found as basic furniture at nearly everyone’s place. The single crosses are connected by zip ties, sparsely attached artificial leaves refer to its cousinship with the classical garden hedge. The Hedge is as easy to transport as it is to expand. It matches two basic needs of a contemporary home border: Mobility and flexibility. Additionally, the guideline of the enhanced understanding of post modern privacy is totally supported: See and be seen.

4 Platzhirsch | used towels, fiber glass tent poles, curtain rod, tent strings

The Platzhirsch is a kind of a banner, made of camouflage-green used towels. The single towels are perforated with eyelets, similar to those of a regular tarpaulin, which are knotted to each other with string. Although they were crafted and colored in a uniform way, they now differ due to their varying signs of usage. The flagpole is made of a bunched group of fiber glass tent poles which bends under the banner‘s weight. A curtain rod to which the towels are fixed is suspended from the top of the banner. The title of the work also refers to the wides- pread habit of claiming public space by reser- ving it with a towel.

5 Zed‘s dead, baby | Towel (African Safari Club), eyelets, tent pole, string, jalousie, wooden zed, black tension foil

6 The whole show left by train. | The Exhibition is taken down and ready to get transported in a suitcase.

Imprint:

Benjamin Zuber Platzhirsch

CirkulationsCentralen | Malmo Sep. 24th - Oct. 16th 2011

The Exhibition and this booklet was funded by: CirkulationsCentralen, Malmo/Sweden Erwin und Gisela von Steiner Stiftung, Munich/Germany

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Aus Kindern werden Leute roher Hefeteig, Leichentisch

Ausstellungsansichten: Anatomisches Institut Erlangen (2007) und Foyer der Kunstakademie Münster (2013)

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--- HUNT-A-HINT / solo show at Kunstverein Paderborn, 2014 --- SUPER WILD ASS GUESS / solo show at Blackbox Gallery, Copen- hagen, 2013 --- united / bavarian funding for graduates, Nurem- berg, 2013 --- Der Schachtürke / Installation and Performance with Sebastian Tröger at das weisse haus, Vienna 2013 --- smart answers to stupid questions / solo show at Blackbox Gallery, Copenhagen, 2012 --- Doppelknoten / solo show at frappant, Hamburg, 2012 --- Platzhirsch / solo show at CirkulationsCentralen, Malmo/Sweden, 2011 --- Aus Kindern werden Leute / installation, Münster 2013 and Erlangen 2007 --- selected pieces / 2010-2012 --- BENJAMIN selectedZU piecesBER Cover: Two bad jokes balancing on each other 2012, Objekt transparent hose, wire, tubeclips, cable Räuberknoten 2012, installation (failed) | drywall, cw studs, wood, rope Räuberknoten above: shoot of the fall after releasing the knot below: before the fall (Photo: Michael Munding) right side: model Pitstop (white cube in the garage) | 2011, installation White stretch film, pond liner, fluorescent tubes, laths, tension belts 250g | 2011, installation | wooden frame, clothesline, hand made paper 250g details Hedge 2011, installation | IKEA shelf-support-crosses „Observatör“, zip tie, artificial leaves

Flugmaschine (flying machine) | 2010, Photography C-Print/Aludibond/Acrylglass, 50 x 75 cm no title (Schwerebeschleunigung) | 2011, installation chipboard, model grass, dimmer, cable, plugs, bulbs, hot glue Physik 1 | 2010, digital printing on vat paper, each 70x50 cm scanned from an physics-schoolbook and scaled up leveled | 2011, installation | Three Frankfurt shovels, three water-filled buckets, a two meter level Dickerchen (Fatty) | 2013, Object Styrofoam, trash bag, water Fett (fat) | 2010, objekt various boards, butter, portable floodlight, chain ohne Titel (Su-Shi) | 2011, Installation | Toilettenpapierrollen, Gaffertape, Reinigungsschwämme, Wellpappe

Benjamin Zuber selected pieces http://benjaminzuber.com [email protected] images and texts: Benjamin Zuber (exceptions are marked) © Benjamin Zuber, Berlin 2014