Krisenbauchladen für : Krise/ein romantischer Abend, 4. Okt. 2017 

Krisenbauchladen für : Krise/ein romantischer Abend, 4. Okt. 2017 

 

Krise: Ein romantischer Abend, Performance, "Ostfriesland", Berlin, 4. Okt.2017 

Krise: Ein romantischer Abend, Performance, "Ostfriesland", Berlin, 4. Okt.2017 

Performance mit: Eva Hoffmann (Mezzosophran), Elke Graalfs, Annette Stemmann, Berit Schneider, Boris Jöns und Jenny Löbert

Romantic Forms of Communication and Disappearance Techniques as Seen in the Work of Manfred Kirschner - Since the End of the 70's there has hardly been a relevant development within artistic performance in Germany. This has experienced a fundamental change in the nineties. Since then, both the interest in attending performances from the sixties and seventies as well as new developments within the community of young German artists, such as John Bock or Jonathan Meese have been on the rise. Manfred Kirschner's position within this contemporary field belongs to the most interesting and complex, especially for the reason of refusing specularity to become a reason of legitimacy for the existence of his work. His humorous actions, which can both take place with or without an audience respectively, are naturally merged into other artistic types of expression a comprehensive "Gesamtkunstwerk", equally as labyrinthical as ephimeral. Often, private and public forms of communication are staged in a romantic-ironic manner and reduced to absurdity. As an example, he repeatedly transferred 10 Marks to a friend, who then transferred the same amount back to him, during his art studies. During studies, money transfers are free of charge, so of course this action ends at the same time as studies are completed. On the money order, where usually profane "purposes of payment" are to be found, poetical greetings from one heart to another are to be found. The money itself has lost its rational meaning as legal tender and is transferred into a higher means of communication. Another ritualized form of communication are lectures. When he was asked to design furniture for a cycle of lectures at the KünstlerHaus (Artists' House) in Bremen, he suggests swings for the audience, a jestful way of offering the audience an opportunity to live its right of free movement of the body, thoughts and dreams - a subversive commentary against stiff, hierarchical, static one-way communication of a consistent scientific discourse. Other means of communication are the edible Poems featuring inscriptions and depictions. Ar consumers can incorporate these messages. Also if one decides to decline and to preserve them, they will keep reminding one of their original purpose: to "disappear", a important aesthetic ploy and principle of Manfred Kirschner. In 1996 a solemn evening meal was arranged for, in order to devour the Eating Papers within a worthy ritual. A brochure tells everything about the foodstuff production company, recommends suitable red wine and warns diabetics. In Manfred Kirschners poetic universe, everything can also be poetic and healthy. One action spawns the next one, one element completes the other. This poetic universe is inhabited with friends and colleague artists. Here, also Manfred's alter ego, Bob Mancovitz is to be found, whose identity is proven by many photo albums, slides, stories and picture collages, but who also remains mysteriously "disappeared". Stories about stories are initiated, end up in the middle of nowhere, tell us about life and a joyfully relaxed search for meaning. Short, allegorical pieces of absolute melancholy, such as "Three Black Songs: Swan Lake, Lonesome Road, What Kind of Trees Must Those Be“ in 1999 and The concept for the performance "Luxembourg" in 2002 tell about melancholy, loneliness and the hope contained in the open-end principle. Relationships to fellow humans are brittle threads, to be reconstructed by viewing a romantic exchange of letters between himself and his fellow artist, Veronika Schumacher in 1999. "Love in Public Space" in cooperation with Marc Haverkort in 2000: just as fragile and fleeting as it is demonstratively critical of other forms of "Art in Public Space" in Bronze and Steel. The longing for another world and the simultaneous acceptance of the limited possibilities life has to offer, asks for the invention of new games and new rules for creating an area in which reality and poetry can be reconciled. Fiction penetrates reality and transforms it. Everything becomes possible, also the disappearance of art in life, when life has become art. Eva Schmidt Society for Contemporary Art, Bremen

Die Kollektion, mit Frank Schoppmeier (Jesusboutique)  

Die Kollektion, mit Frank Schoppmeier (Jesusboutique)  

a fashion performance for visual art

Plastik Revue, Moderation und Gesang, mit befreundeten Künstlern,  Galerie M, Berlin 2014 

Plastik Revue, Moderation und Gesang, mit befreundeten Künstlern, Galerie M, Berlin 2014 

 

12000 Tränen für die Kunst, ArtIG, Hannover 2004 

12000 Tränen für die Kunst, ArtIG, Hannover 2004 

 

The Human Spirograph, Galerie für Gegenwartskunst, Bremen 2001 

The Human Spirograph, Galerie für Gegenwartskunst, Bremen 2001 

In the drawing performance “the human spirograph” the artist tries to work like the spirograph working sets from the 70ties, you can draw mathematically exact patterns with. He tried to work like this tool, and drew various patterns onto the walls in the gallery. Kirschners patterns, in comparison to the exact patterns created with a set, evoke through the human inaccuracy, the aspect of humanity.

12000 Tränen für die Kunst, Bremen 2004 

12000 Tränen für die Kunst, Bremen 2004 

 

The Human Spirograph#2-Fictional Exhibition Opening Performance at Broadway, NY, 2001 

The Human Spirograph#2-Fictional Exhibition Opening Performance at Broadway, NY, 2001 

The artist created a poster for an exhibition opening of a fictive gallery in New York in may 2001. Manfred Kirschner stuck the posters at different places in the city to announce his opening in the gallery Scott&Scott. He invited people he met on the street to the opening. It took place at a street corner in Soho , the gallery address inspired by one of the photo stories about Bob Mancovitz. So on the evening in May, Kirschner appeared at Broadway, Corner Broome Street, drew there, stuck drawings on paper to the wall and told the people walking by about the life of Bob and showed them his photo albums. The artist let fiction and reality interweave.

Thank you Manfred Kirschner!, Künstlerhaus am Deich, Bremen, 2002 

Thank you Manfred Kirschner!, Künstlerhaus am Deich, Bremen, 2002 

 

About:Blank, New York, 2004 

About:Blank, New York, 2004 

The title of the work is the commentary of the empty blank site of the internet explorer. In this work Manfred Kirschner did a promotion for nothing, a state in wich everything is possible. Dressed in a grey suit he promoted and handed out blank pieces of paper of the size 5” x 8” to passers-by. Throughout the action he remained silent but acted friendly towards the people. The work directly interacts with the spectator who spontanously fill in their own interpretation. Kirschner did About:Blank already in Bremen, London and New York City.

About:Blank, London 2003 

About:Blank, London 2003 

The title of the work is the commentary of the empty blank site of the internet explorer. In this work Manfred Kirschner did a promotion for nothing, a state in wich everything is possible. Dressed in a grey suit he promoted and handed out blank pieces of paper of the size 5” x 8” to passers-by. Throughout the action he remained silent but acted friendly towards the people. The work directly interacts with the spectator who spontanously fill in their own interpretation. Kirschner did About:Blank already in Bremen, London and New York City.

The Museum Outlet Performance, Museum Outlet, Berlin 2006 

The Museum Outlet Performance, Museum Outlet, Berlin 2006 

 

Integration, Fashion Performance, Taschenanzug, Berlin 2007 

Integration, Fashion Performance, Taschenanzug, Berlin 2007 

The fabric of this suit is from huge plastic bags wich are known all over the world. They are used in many different logistic contexts. Besides they don’t have an officially correct name but transport a racist stigma. Often they are called “polish suitcase” or “Turkish Bag”. In "Integration" Manfred kirschner and Jens Engel have been showing the suits in fashion performances and film, to solve them out of the racist relation and put them into fashionable haute couture.

Tanz der Schneeflocken, Städtische Galerie,Bremen 2005 

Tanz der Schneeflocken, Städtische Galerie,Bremen 2005 

 

Manfred Kirschner und Sabine Albers sägen einen Ast durch, Bürgerpark Bremen, 2003 

Manfred Kirschner und Sabine Albers sägen einen Ast durch, Bürgerpark Bremen, 2003 

 

Der Künstler Manfred Kirschner malt die Stadthalle nocheinmal so, wie sie vor dem Umbau war,  Bremen, 2004 

Der Künstler Manfred Kirschner malt die Stadthalle nocheinmal so, wie sie vor dem Umbau war, Bremen, 2004 

 

Het Droste Effect, gefälschter Zeitungsartikel, fotokopiert, 500 Expl., Bremen 2001 

Het Droste Effect, gefälschter Zeitungsartikel, fotokopiert, 500 Expl., Bremen 2001 

In spring 2000, Marc Haverkort and Manfred Kirschner participated with their work "Love in the Public Space" in the prize-awarding "-exhibition in Bremen. During the week before the opening an over-regional jury looked at the exhibition to determine the winner of 10 000 DM ( about 4511.- Dollar at that time) out of 14 art entries. The artist created a newspaper text, looking like a copied authentic newspaper article with the future date of the exhibition opening. There it could be read that Marc Haverkort and Manfred Kirschner had won the prize with their work. Manfred Kirschner chose a modest presentation, placed a high table and a rack with 500 copies on it, in the gallery. He simply put it there without telling anyone one else about it. In the text, the article itself was reviewed. Sadly but they didn´t won the prize. It was a video work by another duo; Ole Wulfers and Stefan Jeep. Could be that the jury even did not see the installation. At the opening there were only 10 copies of the real article to come at that day. But later at the evening, Marc Haverkort and Manfred Kirschner were congratulated as the winners many times. Manfred Kirschner reflected the imaginary through itself and focused the ease with which reality can be faked in details. In the review of the real newspaper article the author copied several therms from the artificial one, Kirschner wrote.

Loo: Ich gebe mein Geld an Luxemburg, Performance mit selbstgedruckten Währungen vor der Deixa-Bank, Luxemburg Stadt, 2002 

Loo: Ich gebe mein Geld an Luxemburg, Performance mit selbstgedruckten Währungen vor der Deixa-Bank, Luxemburg Stadt, 2002 

 

C.A.I. - Cooperate Alternative Identity, Agentur im Künstlerhaus Bremen, 1999 

C.A.I. - Cooperate Alternative Identity, Agentur im Künstlerhaus Bremen, 1999 

 

The story of Bob, Installation & Dia- Show, Delmenhorst, 1998 

The story of Bob, Installation & Dia- Show, Delmenhorst, 1998 

 

Goldsuche, in der Delme, St. Galerie Delmenhorst, 1998 

Goldsuche, in der Delme, St. Galerie Delmenhorst, 1998 

Goldsearch - In summer 1998, the artist was asked by the director Barbara Alms of the "Städtische Galerie" to do a performance for the opening party of the Collection Stuckenberg in honour of the German artist Fritz Stuckenberg. Stuckenberg who at the beginning of the century took part in the artist circles in Paris and the Berlin "Sturm" was forced later by illness to return in his hometown Delmenhorst. Manfred Kirschner decided to search for Gold in a nearby little river called Delme. He learned how to search for gold, used a pan and did it several times before, after and beside the opening. Some little shiny objects have been found in the river near the museum as a very little golden star and a silver chain. Kirschner thought it would be a good picture for an artist, his strategic and characteristic, to search for something where no one would suppose it and he developed a personal methaphoric action for the destiny of Stuckenbergs life.

The Story Of Bob, Familien Dia Show/ Fotocollage Fortsetzungsroman, mit Toni Peretta, Haus Coburg, Delmenhorst, 1999 

The Story Of Bob, Familien Dia Show/ Fotocollage Fortsetzungsroman, mit Toni Peretta, Haus Coburg, Delmenhorst, 1999 

 

Essbare Gedichte und Zeichnungen, Performance, Bremen 1998 

Essbare Gedichte und Zeichnungen, Performance, Bremen 1998 

Eatable Drawings and Poems – Essbare Gedichte und Zeichnungen. From 1994 to 1998, the artist also intensly worked on eatable drawings and poems. They are written and drawn with eatable ink on waver paper and than vacuum packed. Kirschner organised and participated in readings in which he ate his poems after he read them. For the performance, eating always costed more time then reading them. In 1996 he drew and wrote a 30-person menu for a dinner performance and opening of his exhibition in a gallery at the Galeriehaus Hamburg. There Kirschner worked as a waiter and served the eatable artwork for dinner. The same year he showed his work at the Kunstverein Bremerhaven, Kunsthalle.