Saturday, 27th April, 4pm to 7pm in collaboration with ULME 35 – Ulmenallee 35, 14050 Berlin-Westend

Discussion about artistic practices in public space

SALON INTERVENTION I presented different examples of artists groups and artistic interventions in public space. The artists of HIER&JETZT: Connections invited the interested public to take part in the discussion.

The „SALONS“ are regular meetings with the aim of sharing and exchanging knowledge about diverse cultural aspects in art history. With one or more representative examples we present each other artworks on specific themes. This format offers a platform to research and discuss western and non western art positions.


Artists, artwork we discussed:

Francis Alÿs is a Belgian-born, Mexico-based artist. His work emerges in the interdisciplinary space of art and social practice.

He developed his “paseos”, city walks. For his first performance The Collector (1991), he dragged a small magnetic toy dog on wheels through Mexico City so as to attract debris to it. In Sometimes Making Something Leads to Nothing he moved an cuboid of ice through the city until it was melted. When Faith Moves Mountains (2002), Alÿs recruited 500 volunteers in Lima, Peru to move the entire geographical location of a dune together.

His performed events are documented in video, photographs, writing, painting, and animation. For more information check his website:

Dorte Olesen choreographer and performer criticises the roles of man and women in her artwork and tries to break the rules. In “Huggande kvinnor” (Holzhackende Frauen, Hoeing women, 2007) women over the age of 50 presented themselves in the middle of european citys doing “a man’s job” – cutting trees and hoeing wood.

Rebecca Belmore
Title: Ayum-ee-aawach Oomama-mowan: Speaking to Their Mother
Date: 1991, 1992, 1996
Medium: Sound installation – wood, megaphone
Location: Various locations within Canada and the United States of America
“This artwork was my response to what is now referred to in Canadian history as the “Oka Crisis.” During the summer of 1990, many protests were mounted in support of the Mohawk Nation of Kanesatake in their struggle to maintain their territory. This object was taken into many First Nations communities – reservation, rural, and urban. I was particularly interested in locating the Aboriginal voice on the land. Asking people to address the land directly was an attempt to hear political protest as poetic action.”
Kapitalistischer Realismus, 1963-1966
Gerhard Richter, Sigmar Polke, Konrad Fischer (alias Konrad Lueg), Manfred Kuttner
Josef Kyselak (1798-1831): “first tagger”
Banksy: intervention in museums
Zentrum für politische Schönheit (ZPS)
Center for Political Beauty
Das Peng! Kollektiv
The Peng! Collective
Luna Luna. Jahrmarkt der modernen Kunst, Hamburg 1987, André Heller (*1947) with: Salvador Dalí, Roy Lichtenstein, Joseph Beuys, Basquiat, Keith Haring etc.
Dismaland, Weston-super-Mare, 2015. Banksy and 58 artists
Wiener Gruppe, 1954-1964
friedrich achleitner, h. c. artmann, konrad bayer, gerhard rühm, oswald wiener
“in diese zeit [sc. 1957] fällt auch unser „flagellomechanisches manifest“: an öffentlichen plätzen werden mit bleikugelschnüren texte aus einer schreibmaschine gepeitscht, die einzelnen blätter abgestempelt an die umstehenden verkauft; den presseleuten werden in puppengeschirr kaffee und kuchenbrösel gereicht. lesungen in einem strassenbahnwagen und im riesenrad waren geplant. unsere gedichte sollten öffentlich plakatiert werden. artmann und ich beabsichtigten, einen „progressiven heurigen“ zu veranstalten, wo wir, auch im duett, begleitet von ernst kölz, unsere aggressivsten dialektgedichte vortragen wollten” (Gerhard Rühm: vorwort, in: ders. (Hg.): Die Wiener Gruppe. Achleitner, Artmann, Bayer, Rühm, Wiener. Texte, Gemeinschaftsarbeiten, Aktionen, erweiterte Neuausg., Reinbek bei Hamburg 1985, 25).
ZettelpoetHelmut Seethaler (*1953): seit 1974 in Wien tätig: Pflückgedichte