11 - 14 October 2018

For 4 days the impressive Bijlmerbajes (former prison complex which was permanently closed in June 2016) is occupied by XL artworks of contemporary artists and designers. A unique mix of monumental paintings and drawings, large sculptures, big photos and huge installations by acclaimed names and emerging talents. On show, and for sale!


Here we will show a spectacular work by Anna Bittersohl & Philipp Kummer.

die Unendlichkeit der Dinge / 2018 / wood, cardboard, sand, fabric, motor driven humming birds, artificial flowers, +diverse materials
„die Unendlichkeit der Dinge” (the infinity of things) is a gedankenexperiment by the two Leipzig based artists Anna Bittersohl and Philipp Kummer. It is committed to a consideration of a hypothetical conception of a world where there is only human nonsense left. This reflexion is entangled with a surreal redemption fantasy. Like a peculiar ship, a meagre landscape clearly separated from its surrounding, is floating through the room, representing a glimpse of an end-less self-alteration of human legacy. In tow its dinghy, a tent disappearing right into the wall like a secret pass into further spaces. Within the structure of the floating island various sculptural objects have developed their own artificial, viable habitat and repopulated the hostile surrounding. A new ecosystem of life and death has evolved from the dust. Little humming-birds flit around their nests. Two trees give footing to another tent, a scraggy shelter, yet illuminated and adorned, waiting for someone to come home. In front of the futuristic boat, a massive figure, a clapping monkey. The ferryman leading the new way? Or a figurehead waiting for the captain to clap? Who will he clap for and will he ever clap again? Or might the buzzing of the motor driven feathers be the only whisper to be heard. And again, will there be someone to hear it? There is one door, one possibility for any brave explorer to enter this future world and let the last clap sound. This piece of work has been produced with the premise to keep the percentage of human caused waste or products that are made to be lit-tered within very short time as high as possible.


Also, the monumental painting ‘Grat’ by Anna Bittersohl is there to see. 

Grat / 2018 / oil on canvas / 
“Grat” (ridge) is an offensive offer. It evokes the vague pressure to choose sides. Motionless persistency would be an option to that quandary, but that comes with the unpleasant curse to be bound on the spot for eternity. And here we are, in the middle of two theatres. The inside, a cave formed by thick, impermeable dark colour to patronize its treasures, high hu-midity, watery ground, berg crystals, ancient relicts, reminiscences of drawings on its shady walls. On the outside, a fresh breeze of brightness, a view into a wide landscape, endless distance and space for wanderlust. Blurry colours protect the wilderness from being captured. Or is it just a good try to mislead the doubters? There we are, pendant in between, some vague humanly notions spread like unreadable signs throughout the fragments of a reminiscence on simulated landscape on royal wall paintings. A vast tree separates the two environments at eye level, acting as a barrier in the main visual axe. Yet, rightwards, men can already feel the beginning of erosion of its bordering power. A wave of fragments, colour and material floods the vadose zone. The liquid serves as a combining element to entangle the whole system. It patiently leaches the firm components to constantly figurate shape and appearance. Two massive bodies of horses get flushed on the mouldy ground where they immediately start dissolve into their environment. Meet this closed ecosystem, explore its’ unique, invaluable details as a guest, you are allowed to stand on the ridge. Maybe you get to choose someday.


Installation Views