Philipp Amann – Zeichnungen


One story I usually tell about my friend Philipp is that I once went to pick him up at Istanbul’s Central Station, and all he wore was a pair of flip-flops, blue swimming trunks, and a faded yellow shirt. On his shoulder he carried a threadbare tote bag containing three different kinds of fishing-rod, and a bottle of whiskey three-quarter full. And that was it – no further baggage for a two-day train ride from Berlin to Istanbul, let alone the fourteen-day trip still ahead of us.


Apart from being a self-taught traveller, Philipp is also a self-taught artist. Given the happy-go-lucky attitude in which he goes not only about his travels, but also about his finished artwork’s handling, I eventually started to obsessively hold on to as many of his drawings as I possibly could.

What I like so much about Philipp’s drawings is the unbothered tranquillity they radiate. Serene land- and seascapes at peace with themselves: broad-trunked trees, a cabin in the woods, a surfer riding the perfect wave – what else would one want to draw and dream of.

This three colour, riso-printed zine is a collection of some of Philipp’s drawings. It was printed in an edition of 100 copies and can still be purchased from my online store.


Het Stenen Hoofd


As an art history student, I wrote a paper analysing the different roles urban wastelands have come to play in various contemporary art practices.

For that purpose, I examined both history and status of the inoperative Amsterdam dock called Het Stenen Hoofd in the form of a case study. As part of my research, I got in touch with the foundation in charge of programming the cultural activities for the hosting of which the site has become best known. Taken in by the visual material I had gathered, they proposed to fund a group of flags displaying the most striking of these historical images, and to have them installed on site for the length of one summer.

Above you see three of the sixteen flags that were eventually put up, modestly evoking the past of the very site on which they were planted.


Simon Tanguy | Ansgar Reul


Dancer and choreographer Simon Tanguy and I developed this piece to explore possible forms of interaction between live drawing and a physical performance.

The stage design consisted of a small, six-piece moveable podium and a screen at the back of the stage, broadcasting the top of my desk in real-time. Both Simon’s performance and my visual meanderings followed a loose dramaturgy, devised to enable regular reversals of the acting and reacting part.

At times, the performance also ventured into the musical realm, featuring interludes we improvised – either together or each by themselves – on clarinet and bass guitar.


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