Exhibition / 52-Hour-Lab
Bernhardt Herbordt, Melanie Mohren
Promise, Practice, Protocol—
Performing Future Presences

Are You Meaning Company
The Ten People No. 3

Matthias Böttger
Garden Without Us

Corinne May Botz
Haunted Houses

Marcelo Cardoso Gama
Unvisible Singing III: A Souvenir

Jonathan Garfinkel
Manufactured Soundscapes

Javier Hinojosa
Emphemeral Traps

Eunjung Hwang
Creature Feature Animation

Alicja Karska, Aleksandra Went
From the Cycle

Daniel Kötter, Begum Erciyas
5 Falsche Versprechen

Pei-Wen Liu, Tobias Hoffmann

Marcell Mars
What Is Smart? What Is Stupid?

Matthias Aron Megyeri

Kaiwan Mehta
Species of Traces
An Archaeology of Journeys
of Exact Portraits of Identifiable
Existing Originals

Kerstin Meyer
What Am I Doing Here?
An Exchange Between Artists
and Professionals
of International Development

Damir Očko
Steps over the Frozen Lake

Mike Osborne
Near Monochromes

Bernardo Oyarzún
Reality Set

Dubravka Sekulić
Future Presences

Alexander Sigman
detritus | reconstructions

Katarzyna Sowula
Where Is the Truth
about the Past?

José Carlos Teixeira
Between Clarity & Fog

The New Schicksalsgemeinschaft
(Jan Altmann/Zoran Terzic/Daragh Reeves)
ZEN & SPLATTER (Laundry Chinoise)

Photo Gallery

The New Schicksalsgemeinschaft (Jan Altmann, Zoran Terzic, Daragh Reeves)
ZEN & SPLATTER (Laundry Chinoise)

Project Description

The project ZEN & SPLATTER (Laundry Chinoise) as executed by The New Schicksalsgemeinschaft is a kaleidoscopic peek into the various paradigms and procedures of the artists’ cultural practices (lecture, video, drawing, etc.) that were performed during the 52-hour-lab at Akademie Schloss Solitude from Friday, May 22, 8 pm until Saturday, May 23, 8 am. The project (and other related activities) was located in the laundry room—Laundry Chinoise is a reference to Jean-Luc Godard and a film-tracing that we performed during the lab activities.

The New Schicksalsgemeinschaft (Jan Altmann, Zoran Terzic, Daragh Reeves), ZEN & SPLATTER (Laundry Chinoise)



Among other aspects, these practices want to be representations and anti-representations, contemplations and appearances of the critical questioning of the “internal truth” of artistic gatherings as such (“What does it mean to collaborate?” “What is gained by it?,” etc.). And by questioning the very premises upon which any form of involvement gains its momentum, one simultaneously defines and re-defines the principles of what consequences useful or useless scenarios for production may have.


The intent of The New Schicksalsgemeinschaft is to illustrate a commonly referenced core of social organization: a joint effort based on sheer coincidence of time and place within a framework of production (nature, goods, logistic, topography, technology, communication, etc.). Society is nothing but a coincidental (rather than interwoven) entity of diatypical and antagonistic subjects and projects its outcome thus highly unpredictable, no matter how stable its “constitution.” There is no society without a hazardous core, and there is no art without the drive of failure. The fear of disaster is stronger than the fear of death. Death is an illustration of fear.

The New Schicksalsgemeinschaft (Jan Altmann, Zoran Terzic, Daragh Reeves), ZEN & SPLATTER (Laundry Chinoise)