studio - felix

STUDIO
Felix Burger
Selection of works
Weißer Zwerg
Installation, 2016 / 2 rooms
Weißer Zwerg (Collection) - Museum Eye, Amsterdam
Weißer Zwerg (Conference) - Hacking Habitat, former prison Wolvenplein, Utrecht
Weißer Zwerg (collection)
Museum Eye, Amsterdam
Installation, 9 x 5 m
Photographs, sculptures, objects, 9 - channel audio, 2 - channel video
A space that calls to mind a traditional gallery like one at the
Museum of Natural History in New York, Burger shows us a
fake astronomic collection of analogue photographs, objects and
films. The artist creates a concept of the world without leaving
his studio, working with optical manipulation to set up his own
microcosm: stars made of garbage bags, galaxies composed of
hot glue. Burger places himself in the center of the narration as
researcher, conductor and omniscient storyteller.
Weißer Zwerg (collection) / Installation, 2016
Installationview
Weißer Zwerg (collection) / Installation, 2016
Installationview
Weißer Zwerg (collection) / Installation, 2016
Installationview
Weißer Zwerg (collection) / Installation, 2016
Installationview
Weißer Zwerg (collection) / Installation, 2016
Video
Weißer Zwerg (collection) / Installation, 2016
C - print on barite paper, handprint, 50 x 60 cm / series of 180 bigformat negatives (current and previous pages)
Weißer Zwerg (conference)
Hacking Habitat, Utrecht
Installation, 6 x 8 m
14 - channel audio, 4 - channel video, sculptures, furnitures,
drawings, books, photographs i.a
In the conference room at the former prison Wolvenplein, 25
sculptures can be found seated around a large table. Cyborgs
made of industrial foam, metal stands, silicone and patex glue
create figures that are both alien and studiotrash. They seem to
be having a conversation amongst themselves, speaking in fragments and choirs, repeating specific words, or try to learn a text.
The table reminds us - with its long cuts by a circular saw, different layers of paint, dust and plaster - of a military landscape;
tracks and boarders formed by a fictious society. Casts from insolation pipes and aerosol cans stand erect on the table like a
utopic city; rockets before a launch or chess figures mid play.
Open books show alternating historic concepts of the world -
- TEXT Mit HeißluftFön gebrannte Galaxien
Kleine Partikel in Erdnähe
Europa
Es isoliert vom Lebensfeindlichen Aussenraum, es schützt und wärmt wie eine zweite Haut
Europa - Jupitermond
Supernova
Weißer Zwerg
u.a.
Weißer Zwerg (conference) / Installation, 2016
Installationview
Weißer Zwerg (conference) / Installation, 2016
Installationview
Weißer Zwerg (conference) / Installation, 2016
Details
Weißer Zwerg (conference) / Installation, 2016
Details
Weißer Zwerg (conference) / Installation, 2016
Details
Weißer Zwerg (conference) / Installation, 2016
Details
Shell Shock Syndrome
Installation, 16 x 10 m, 2014
2 x 16 mm films, 50 mechanical heads, 5 - channel audio,
silk - screens, photographs, objects, furnitures, sculptures,
drawings i.a.
50 mechanical dolls, no complex technoid cyborgs, alter egos of
Felix Burger, glued together amateurishly, sing the opening hymn
of St. Matthew Passion by Johann Sebastian Bach. One of the
most intricate works in the history of music, a passion about suffering, death and resurrection, it serves as a spiritual metronome
and determines the fall height of Burger’s installation. All of the
choir voices intonated by the artist fragment the composition
and transform it into a biographical song of lament, vacillating
between slapstick and drama, between intellectual world theater
and an elaborate children’s room.
The installation remains incomplete, the atelier looks abandoned.
Two film sequences show Burger in front of his unfinished work.
Rattling 16 mm projectors seem to manipulate him, his actions
appear heteronomous – similar to injured soldiers suffering from
shell shock: immobilized, frightened, mentally retarded.
Failure becomes the central theme of this work, the calculated
motif of artistic motivation. In cabinets drawings of the installation are mixed with construction plans of the Hindenburg, the
greatest airship ever built. It explodes, a burning phallus, over
Lake Hurst in 1937.
Shell Shock Syndrome / Installation, 2014
Installationview
Shell Shock Syndrome / Installation, 2014
Installationview
Shell Shock Syndrome / Installation, 2014
Installationviews
Shell Shock Syndrome / Installation, 2014
2 layer silk - screen
Shell Shock Syndrome / Installation, 2014
3 layer silk - screens on glass
Shell Shock Syndrome / Installation, 2014
Installationview
Shell Shock Syndrome / Installation, 2014
Details
Shell Shock Syndrome / Installation, 2014
Details
Shell Shock Syndrome / Installation, 2014
16 mm film, loop
Shell Shock Syndrome / Installation, 2014
16 mm film, loop
Shell Shock Syndrome, Installation, 2014
Detail
16 mm filmstock
Shell Shock Syndrome / Installation, 2014
Details
Installationview
Shell Shock Syndrome / Installation, 2014
Installationview
Shell Shock Syndrome / Installation, 2014
Installationview
Shell Shock Syndrome / Installation, 2014
2 layer silk - screen
Shell Shock Syndrome / Installation, 2014
3 layer silk - screen (previous page)
Installationview
Downed
Installation, 2 rooms, 5 x 10 m, 2013
2 - channel video, photographs, models, sculptures, drawings i.a.
Felix Burger is confronted with his self-appointed, artistic forbears in a mystical cabinet. He declares them to be fetishes whose
story he embraces, enabling him to reinterpret it as he fancies:
Burger plans the final Parsifal staging with a handicrafted Richard Wagner made out of styrofoam. An airplane crash somewhere between the foothills of the Bavarian Alps, Crimea and
the Andes forces the artist to consume Joseph Beuys’ holy body
in an act of cannibalism.
Burger himself slips into the role of Ludwig II. – an eccentric
monarch, a dreamer and postmodern builder of fairy-tale castles. With a pasted on beard and eyeblood makeup he stands in
his tiny bathroom gazing over the world.
Downed / Installation, 2013
Installationview room I
Downed / Installation, 2013
Installationview room II
Downed / Installation, 2013 / C - print, 175 x 155 cm
Downed, Installation / 2013
Photographs on Ilford direct positive paper, 12.4 x 9.8 cm, unique
Downed / Installation, 2013
Photograph on Ilford direct positive paper, 12.4 x 9.8 cm, unique
Downed / Installation, 2013
Photographs on Ilford direct positive paper, 12.4 x 9.8 cm, unique
Downed / Installation, 2013
Photographs on Ilford direct positive paper, 12.4 x 9.8 cm, unique
Downed / Installation, 2013
Production photograph
Downed / Installation, 2013
Installationview room II
Downed / Installation, 2013
Installationview room II
Downed / Installation, 2013
2 - canal video
Downed / Installation, 2013
Details room I
Downed / Installation, 2013
Details room I
Downed / Installation, 2013
C - Print, 175cm x 155 cm
eine
Schliersee
Parthie im bayerischen Hochlande
Installation, 2011/2012
Photographs, models, vitrines, objects, films i.a.
The installation, which documents the building of a fictional
theme park, consists of a walk - in room, photos, drawings,
models, plans, various objects and a video with the following
content: „In an enormous underground hall, an artificial reproduction of my homeland was built by Polish migratory workers,
all wearing a mask portraying my face. There is a relief map of
the Alpine foothills and an enormous lithography depicting Joeseph Anton Koch’s „Schmadribachsfall“, shining brightly over
his parents’ house in the background. When a moon in the shape
of a 650 watt lightbulb is put up, Wagner’s „Lohengrin“-prelude
booms through the hall. Finally, empty cable-cars move through
the ghostly scenery. A pompous and pathetical parallel world is
created, stunningly beautiful and confusing at the same time.
The radical way in which the project is carried out is reminiscent
of fascist buildings as well as of the romantic aesthetic of the late
19th century’s music and literature, giving birth to a place of
longing, somewhere between Disneyworld, Ludwig II’s grotto at
Linderhof Castle and Joseph Fritzl’s cellar.“ (Felix Burger)
Schliersee - eine Parthie im bayerischen Hochlande / Installation, 2011
Photograph
Schliersee - eine Parthie im bayerischen Hochlande / Installation, 2011
Installationview Parkhaus Kunstverein, Düsseldorf
Schliersee - eine Parthie im bayerischen Hochlande / Installation, 2011
Detail
Warum ich lieber Märchenkönig als Künstler geworden wäre / C - print, 130 x 170 cm, 2012
Willkommen daheim
Video, 2`22 min, 2009
The artist is sitting on a baroque carpet in his parents’ home.
In front of him are three amusement park models. The camera
comes closer to the events taking place and shows how the artist begins to illuminate the miniatures with a piano lamp. Huge
shadows are cast into the ambience of an upper middle-class
setting, roller coasters speed along the walls, a merry-go-round
clatters on a stucco ornament, swing boats squeak. The sound of
the models is amplified to over-modulation. The children’s game
becomes a staged nightmare.
Willkommen daheim / Video, 2`22 min, 2009 / Videostill
The mill on black water
Video, 3`50 min, 2010
Documentary about a planned city change after a model
of Baron Haussmann or Albert Speer. The change does not,
however, serve military purposes or propaganda but rather
the creation of a romantic image in accordance with the
artist’s wishes. His parents’ home becomes a medieval mill
which magically rotates in an isolated area.
Mill on black water / Video, 3´50 min, 2010 / Videostill
A mess carol
In collaboration with Böhler & Orendt
Installation, 4 x 3 m, 2013, Kunsthalle Baden - Baden
In a darkened room, a ghost apparition is being simulated by
the means of an obviously impovised contraption. The apparatus, basically consisting of a roughly built board and batten
construction, three ultrasonic humidifiers, a video projector and
a “conjuration circle” painted on an oak parquet flooring, conjures up three “ghosts”, who consecutively make their appearance,
each staying for about four minutes. In their monologues, these
ghosts are blaming the visitors, as well as their ancestors and
their descendants, for the state of the world, which is desolate in
their opinion. A text on the wall next to the room entrance pretends that the appartus, alongside with some painted pieces of
parquet, several sheets of writing paper and a book, was found
in a luxury hotel close to Baden-Baden in the course of maintainance works. s that the appartus, alongside with some painted
pieces of parquet, several sheets of writing paper and a book,
was found in a luxury hotel close to Baden-Baden in the course
of maintainance works.
A Mess Carol (in collaboration with Böhler & Orendt) / Installation, 4 x 3 m, 2013 / Installationview
born 1982 in Munich
Studies at the Academy of Fine Arts in Vienna and Munich
2010 Artist in residency at the International Studio and Curatorial Programm, New York
2013 - 2014 Artist in residency at the Rijksakademie van beeldenden kunsten, Amsterdam
Grants: Bayerischer Staatspreis für bildende Kunst, Stiftung Kunstfonds Bonn, Debutantenpreis der Stadt München,
Sudienstiftung des Deutschen Volkes i.a
work shown at Museum Eye Amsterdam, Hacking Habitat Utrecht, Centre Pompidou Paris, Kunsthalle Baden - Baden,
Kunsthaus Nürnberg, Taxispalais Innsbruck, Kunstraum Innsbruck, Kunsthalle Mannheim, Kunstfilmbiennale Museum
Ludwig Cologne, Bundeskunsthalle Bonn, Annet Gelink Gallery Amsterdam i.a.

Download Report