Volume VI – Thomas Geiger & Pieternel Vermoortel
Volume VI – Thomas Geiger & Pieternel Vermoortel

June 2022

Thomas’ work sheds light on topics such as democratization, economization, freedom, play, embodiment, gathering and occupation. All of these are topics whose discourses underwent rapid changes over this last year. This underpinning of change lends a sensitivity and fragility to the work that also informs the rich set of sentiments present in these conversations: alienation, family comfort, fear, loneliness, love, depression, revolt and not to be underestimated anger.

Volume VI – Thomas Geiger & Pieternel Vermoortel

Sperling

all artists

Thomas Geiger

Thomas Geiger (*1983) is an interdisciplinary artist – by using performance, sculpture and language in his works he creates fragmentary stages and playful situations mediating between public, private and institutional spaces. His ongoing project “I want to become a millionaire” can be seen as the back bone of this practice. The multilayered work explores economic and distribution strategies outside of the art market. His work has been featured internationally in museums, galleries, festivals and public spaces. In 2015 he founded Kunsthalle3000, an institutiton as intervention in public space. In 2010 he co-founded the publishing house Mark Pezinger Books.

Works

Bust Talks (Pietro), 2020, performance + video installation, 19:30 min

Bust Talks (Pietro), 2020, performance + video installation, 19:30 min

Bust Talks (Kifwebe), 2019, performance + video installation, 18:52 min

Bust Talks (Kifwebe), 2019, performance + video installation, 18:52 min

Bust Talks (Mutter), 2020, performance + video installation, 23:40 min

Bust Talks (Mutter), 2020, performance + video installation, 23:40 min

Bust Talks (Hans Kloepfer), 2019, performance + video installation, 26:00 min

Bust Talks (Hans Kloepfer), 2019, performance + video installation, 26:00 min

Some Great Europeans (Wolfgang Amadeus Mozart), 2019 C-Print, 30 × 45 cm

Some Great Europeans (Wolfgang Amadeus Mozart), 2019 C-Print, 30 × 45 cm

Some Great Europeans (Cristiano Ronaldo), 2019 C-Print, 30 × 45 cm

Some Great Europeans (Cristiano Ronaldo), 2019 C-Print, 30 × 45 cm

Some Great Europeans (Winston Churchill), 2019, C-Print, 30 × 45 cm

Some Great Europeans (Winston Churchill), 2019, C-Print, 30 × 45 cm

Cent fons pour Saint-Fonts (á emporter) [100 fountains for Saint-Fons (to take away)], 2020, 100 water bombs + walltext, dimensions variable

Cent fons pour Saint-Fonts (á emporter) [100 fountains for Saint-Fons (to take away)], 2020, 100 water bombs + walltext, dimensions variable

Cent fons pour Saint-Fonts (á emporter) [100 fountains for Saint-Fons (to take away)], 2020, 100 water bombs + walltext, dimensions variable

Cent fons pour Saint-Fonts (á emporter) [100 fountains for Saint-Fons (to take away)], 2020, 100 water bombs + walltext, dimensions variable

Falling (Peter Paul Rubens, The Fall of Icarus, 1636), video, 2:06min, 2020

Falling (Peter Paul Rubens, The Fall of Icarus, 1636), video, 2:06min, 2020

Falling (Bas Jan Ader, Broken Fall Geometric, 1971), video, 2:06min, 2020

Falling (Bas Jan Ader, Broken Fall Geometric, 1971), video, 2:06min, 2020

Falling (Peter Land, Step Ladder Blues, 1990), video, 2:06min, 2020

Falling (Peter Land, Step Ladder Blues, 1990), video, 2:06min, 2020

I want to become a millionaire, since 2010, performance + sign + signed and numbered sheets, 10.5 × 14.5 cm. Since 2010, Thomas Geiger is selling stamped and signed sheets with a sequential number for 1€ each. What started as a street performance, became a private funding system that supports his collabora- tive projects which are dedicated to public space and publishing. To date, he has raised more than 35.000€.

I want to become a millionaire, since 2010, performance + sign + signed and numbered sheets, 10.5 × 14.5 cm. Since 2010, Thomas Geiger is selling stamped and signed sheets with a sequential number for 1€ each. What started as a street performance, became a private funding system that supports his collabora- tive projects which are dedicated to public space and publishing. To date, he has raised more than 35.000€.

Kunsthalle3000–Paris, 2018, ready-made institution in public space, dimensions and duration variable

Kunsthalle3000–Paris, 2018, ready-made institution in public space, dimensions and duration variable

Kunsthalle3000–Nice, 2019, ready-made institution in public space, dimensions and duration variable

Kunsthalle3000–Nice, 2019, ready-made institution in public space, dimensions and duration variable

Kunsthalle3000, since 2016, ready-made institution in public space, dimensions and duration variable. Kunsthalle3000 is an institution as intervention that seeks to transform the unused potentials of the public realm into new situations. Geiger declares specific spots within public space as Kunsthalle to create an intensive, yet temporary “space” for performance, discussion, confrontation and interchange in collaboration with local artists. To date, Kunsthalle3000 has been located in Nice, Vienna, Johan- nesburg, Geneva, Beirut and Paris.
Image: Kunsthalle3000–Johannesburg, 2016

Kunsthalle3000, since 2016, ready-made institution in public space, dimensions and duration variable. Kunsthalle3000 is an institution as intervention that seeks to transform the unused potentials of the public realm into new situations. Geiger declares specific spots within public space as Kunsthalle to create an intensive, yet temporary “space” for performance, discussion, confrontation and interchange in collaboration with local artists. To date, Kunsthalle3000 has been located in Nice, Vienna, Johan- nesburg, Geneva, Beirut and Paris. Image: Kunsthalle3000–Johannesburg, 2016

Corners for Relief (No. 5, Back), 2019

Corners for Relief (No. 5, Back), 2019

Corners for Relief (No. 5), 2019, Sculpting Clay, Filth, 16 × 12 × 11 cm. These small corner-shaped sculptures are modelled forms of popular peeing corners from public space and can be considered anti-monuments to this topic: Peeing corners may be a result of the lack of public toilets, but they still owe to the fact that ‘men can’ and are a demonstration of male privilege within the public sphere.

Corners for Relief (No. 5), 2019, Sculpting Clay, Filth, 16 × 12 × 11 cm. These small corner-shaped sculptures are modelled forms of popular peeing corners from public space and can be considered anti-monuments to this topic: Peeing corners may be a result of the lack of public toilets, but they still owe to the fact that ‘men can’ and are a demonstration of male privilege within the public sphere.

Private Monuments (A stage for your self-enchancement), 2017, concrete pavement tiles, adhesive letters, 95,5 × 80 × 8 cm

Private Monuments (A stage for your self-enchancement), 2017, concrete pavement tiles, adhesive letters, 95,5 × 80 × 8 cm

Private Monuments (A stage to empty your pockets), 2017 Concrete pavement tiles, adhesive letters, 60 × 70 × 8 cm

Private Monuments (A stage to empty your pockets), 2017 Concrete pavement tiles, adhesive letters, 60 × 70 × 8 cm

Private Monuments (A stage for heels only), 2017
concrete pavement tiles, adhesive letters, 35,5 × 41,5 × 8 cm. Private Monuments is a series of eight sculptures based on holes of missing bricks on public squares. As a positive of the original holes, they create fragments of public space within a new environment. Eight dedications can be found as instructions to activate these Private Monuments with momentary gestures that are an echo of the daily life on public squares.

Private Monuments (A stage for heels only), 2017 concrete pavement tiles, adhesive letters, 35,5 × 41,5 × 8 cm. Private Monuments is a series of eight sculptures based on holes of missing bricks on public squares. As a positive of the original holes, they create fragments of public space within a new environment. Eight dedications can be found as instructions to activate these Private Monuments with momentary gestures that are an echo of the daily life on public squares.

Skulptuerchen, 2015/16, stolen doorstops, dimensions variable

Skulptuerchen, 2015/16, stolen doorstops, dimensions variable

Skulptuerchen, 2015/16, stolen doorstops, dimensions variable

Skulptuerchen, 2015/16, stolen doorstops, dimensions variable

Jardín Land Art de La Tigra (La Tigra Land Art Garten), performance + 13 photographies, 2018. In the secluded nature of the Hondurian La Tigra forest, a garden was created that follows the idea of miniature gardens reflecting the secular and the high culture: During the Réunion Performance Festival Geiger gave an iconic photography of a famous Land Art work to each participant and invited them to recreate the work within this new environment. Photo: Sandino Scheidegger

Jardín Land Art de La Tigra (La Tigra Land Art Garten), performance + 13 photographies, 2018. In the secluded nature of the Hondurian La Tigra forest, a garden was created that follows the idea of miniature gardens reflecting the secular and the high culture: During the Réunion Performance Festival Geiger gave an iconic photography of a famous Land Art work to each participant and invited them to recreate the work within this new environment. Photo: Sandino Scheidegger

Jardín Land Art de La Tigra (Joseph Beuys - 500 Oaks), 2018 C-Print, 30 × 45 cm

Jardín Land Art de La Tigra (Joseph Beuys - 500 Oaks), 2018 C-Print, 30 × 45 cm

Jardín Land Art de La Tigra (Michael Heizer, Rift), 2018 C-Print, 30 × 45 cm

Jardín Land Art de La Tigra (Michael Heizer, Rift), 2018 C-Print, 30 × 45 cm

Jardín Land Art de La Tigra (Udo Rondinone, Seven Magic Mountains), 2018 C-Print, 30 × 45 cm

Jardín Land Art de La Tigra (Udo Rondinone, Seven Magic Mountains), 2018 C-Print, 30 × 45 cm

Water Yump, 2018, performance + C-print, various dimensions. Water Yump pays homage to Fluxus artist George Brecht and his work Water Yam - a collection of printed paper cards that invited readers to enact the small actions proposed by each card. For Water Yump Geiger invited the audience to enact works by 12 fellow artists and to create together a “swimming ensemble” in the Rhine river. What started as a drained choreography in front of Museum Tinguely floated down the Rhine river for 45min.

Museum Tinguely & Buero Basel, curated by Benedikt Wyss. Photo by Nicolas Gysin.

Water Yump, 2018, performance + C-print, various dimensions. Water Yump pays homage to Fluxus artist George Brecht and his work Water Yam - a collection of printed paper cards that invited readers to enact the small actions proposed by each card. For Water Yump Geiger invited the audience to enact works by 12 fellow artists and to create together a “swimming ensemble” in the Rhine river. What started as a drained choreography in front of Museum Tinguely floated down the Rhine river for 45min. Museum Tinguely & Buero Basel, curated by Benedikt Wyss. Photo by Nicolas Gysin.

Das Brett, 2014, video, 1:15 min. Three kids trying to kick through a blank which leans against a house wall.

Das Brett, 2014, video, 1:15 min. Three kids trying to kick through a blank which leans against a house wall.

A valve for a spontaneous aggression (Basel), 2014
Broken plank, dimensions variable. This series of broken planks is a result of an action Geiger executed at various places: He leaned planks against house walls. Some time later, he returned to these spots and found most of the planks kicked through and broken

A valve for a spontaneous aggression (Basel), 2014 Broken plank, dimensions variable. This series of broken planks is a result of an action Geiger executed at various places: He leaned planks against house walls. Some time later, he returned to these spots and found most of the planks kicked through and broken

A valve for a spontaneous aggression (Lucerne), 2014, broken plank, dimensions variable

A valve for a spontaneous aggression (Lucerne), 2014, broken plank, dimensions variable

Exhibitions

The Ghost is present, Sperling, Munich, DE 2021

The Ghost is present, Sperling, Munich, DE 2021

The Ghost is present, Sperling, Munich, DE 2021

The Ghost is present, Sperling, Munich, DE 2021

El masestar en un espacio sin gravedad (Thomas Geiger and Javier Gonzalez Pesce), MAC, Santiago de Chile (CL) 2019

El masestar en un espacio sin gravedad (Thomas Geiger and Javier Gonzalez Pesce), MAC, Santiago de Chile (CL) 2019

El masestar en un espacio sin gravedad (Thomas Geiger and Javier Gonzalez Pesce), MAC, Santiago de Chile (CL) 2019

El masestar en un espacio sin gravedad (Thomas Geiger and Javier Gonzalez Pesce), MAC, Santiago de Chile (CL) 2019

Festival of Minimal Actions, Despacio, San Jose (CR) performance project, 2014/15 & 2018

Festival of Minimal Actions, Despacio, San Jose (CR) performance project, 2014/15 & 2018

Festival of Minimal Actions, Despacio, San Jose (CR) performance project, 2014/15 & 2018

Festival of Minimal Actions, Despacio, San Jose (CR) performance project, 2014/15 & 2018

Private Monuments, Sperling, Munich, DE 2017

Private Monuments, Sperling, Munich, DE 2017

Private Monuments, Sperling, Munich, DE 2017

Private Monuments, Sperling, Munich, DE 2017

Selected Solo Exhibitions

    2021

    • The Ghost is Present, Sperling, DE

    2020

    • Mutter, Ausstellungsraum Klingental, Basel, CH

    2019

    • Kunsthalle3000 – A fragment of your public space, one-year project, Kunstverein Langenhagen, DE
    • El masestar en un espacio sin gravedad, with Javier Pesce, MAC, Santiago de Chile, CL

    2018

    • Festival of Minimal Actions, Despacio, San José, CRI
    • Bricks to Perform, La Construccion, Guatemala City, GA

Selected Group Exhibitions

    2020

    • What can be shown, cannot be said, LE CAP, Lyon, FR
    • Kiss, Kunsthalle Wien, AT

    2019

    • Hauptsache Kopf, Kunsthalle Emden, DE
    • Nature\nature, Kunstraum Niederösterreich, AT

    2018

    • Der erweiterte Blick, Kunstverein Langenhagen, DE
    • The Laughable Enigma of Ordinary Life, Arquipélago, Azores, PT

Publications

Press

Thomas Geiger, Fallen Die Putte, 2020

Thomas Geiger, Bust Talk - Kifwebe, 2018, video, 18:52 min