Mirjam Kroker

Freesearch, 2019

Freesearch

Mirjam Kroker

As a neon lettering, and as I initially made it to be installed in the context amongst other artworks, it is like a kind of reminder alarm for what 'artistic research' is/could be or could become if it truly resists other established regulations that quality research in other disciplines and keeps on insisting on finding, formulating and researching its own characteristics beyond a competitive or to adaptative mode to other common research regulators and methodologies that set and qualify research standards in other academic disciplines. Questions that remain important for me: What 'form of language' can serve art instead of covering or domesticating it? Artistic research as an independent discipline; one could almost claim that time could not be better than now to ask what the specific contribution of artistic practice can be to thinking and being within the world.
As modus operandi it is based on the assumption that art can research and generate new forms of knowing without leading to a scientific nature of art based on a purely scientifically founded truth. If it is consciously, it can perhaps also contribute to new artistic research paths or simply to new possibilities of being with or merely part of the world.
Freesearch as a revelation of (artistic) research: I consider it exceedingly indispensable that artistic practice first and foremost reflect on and relate to its own way to be as independent and free as possible what research concerns. Then maybe that's what I could mean by FREESEARCH.

Artist website: https://mirjamkroker.com

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neon letters, plexiglass pane, bracket for attachment to the wall

2019

Judith Egger

Auflösung, 2011

Auflösung

Judith Egger



Artist website: http://www.judithegger.de/

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Digital photography on dibond

2011

Mirjam Kroker

Think like a mountain if you know what I mean!, 2019

Think like a mountain if you know what I mean!

Mirjam Kroker

Think like the mountain if you know what I mean! (video) is part of a more extensive experimental research that critically questions and examines the dominance of the world's visual perception, towards a sonic dimension and its mutable possibilities that I conducted during a bilocal research residency at Cultureland (Amsterdam/Starnmeer). Within this work I am investigating the synchronization of an invented sound made from field recordings and voice recordings with moving images in very low resolution filmed at various disparate sides - from the Pyramid of the Sun and the Pyramid of the Moon (Teotihuacán about 40 km northeast of Mexico City), Starnmeer to Estonia's coastal landscape from above. Due to the weak density up to the blurring, the images and though the visible view itself become a riddle. The question remains whether the proposed sonic fiction thinking like a mountain synchronized with the picture's low resolution can carry it to another view that appears where we can't see it?

Artist website: https://mirjamkroker.com

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Color digital video with sound

2019

Mirjam Kroker

Where does hospitality take place?, 2020

Where does hospitality take place?

Mirjam Kroker

This piece is delivered in a methacrylate box for conservation.
Made in unfired clay. The fragility of this piece is intentional and is conceptually linked to care. This is the reason why the artist undertakes to carry out a repair after acquiring the piece. The rest of the cracks will be a visual part of their own history. (Repair will be made in the event of damage despite careful handling, all other damage caused by careless behavior, improper storage, drops, large amounts of water, etc. Shipping costs will be paid by the owner)

Artist website: https://mirjamkroker.com

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Sculpture, relief air-dried, unfired clay

2020

Mirjam Kroker

Ocupado pensando, 2019

Ocupado pensando

Mirjam Kroker

Different groups available
group: 1 unit € 650
group: 3 units € 1800
group: 8 units € 4000
What happened to the jungle of materialized memory in time? Where is the cronical or cyclical storage of your very own thinking process? What happens unnoticed, and where is it going? As we know ‘nothing can ever be fully exhausted’.
"Auto-summarization is pitched as a process of indispensable biographization that will 'reduce the chores involved in making one's life bits worthwhile to others' like the system itself, and particularly the curiously anthropomorphized figure of posterity who 'will be able to browse your e-memories starting from a manageable "birds eye" view of a life, rather than just confronting an intimidating jungle of material.” CLOUD TIME The Inception of the Future, Coley and Lockwood, 2012, zero books, p. 79 with footnote referring to Bell & Gemmel, 2009, TOTAL RECALL, p. 144, p. 145
"As 'librarian, archivist cartographer, and curator' of our own lives, we enter into an ontological pragmatism, a life-management routine, where everything about ourselves can be 'chronicled, condensed, cross-correlated and plotted out' in order to yield [h]higher productivity and more vitality, longer life spans, deeper and wider knowledge of our world" (Bell & Gemmel, 2009, TOTAL RECALL p5, p.6, p.8
What is significant of 'busy with thinking', in a present that some describe as post-biological, where thinking itself is merging more and more with network computing?
Keeping it personally alive?

Artist website: https://mirjamkroker.com

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Installation, sculpture, MDF, label “ocupada pensando”

2019

Mirjam Kroker

Fuera de tiempo | Out of time, 2020

Fuera de tiempo | Out of time

Mirjam Kroker

This video is delivered in a case designed by the artist.
planetary state of emergency caused by the worldwide spread of the coronavirus does not seem to leave any conceivable area untouched, it quite obviously af- and in_fects the perception of time, proximity and distance. In the state of emergency of the pandemic, structures and modes of organization from the temporal, spatial, economical, political, public to the private and personal are relentlessly made visible. The opacity, which too often brings inequalities and inconveniences to safety, is relentlessly dissolving. An immediacy becomes the present, in which time can be measured through proximity and distance. How far is close enough for you to tell time? The good thing is that the matter of time cannot be resolved here - just to be found out. Like an ecstatic embrace. Waiting takes on a new meaning and starting point for something that we may just be getting to know.

Artist website: https://mirjamkroker.com

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color digital video with sound

2020

Mirjam Kroker

International cloud Archive nº1. Detail, 2017-2019

International cloud Archive nº1. Detail

Mirjam Kroker

Installation.
41 photopraphies on color printed on paper, epoxi resin, DM boxes, labels & table.
Variable measures
41 units: 40 x cases 23x32x9cm, 1 case 23x32x2cm, stacked compactly 135x70x33cm
1x table 96x230-164x55cm
2x carrier objects/modul (red) 35x35x12cm

El International Cloud Archive es un intento continuo de establecer un terreno estable mediante la captura, recopilación y archivo de tantas nubes como sea posible y reflexionando sobre esta práctica para estimular un proceso de pensamiento de nuestra condición contemporánea del ahora y su implicación sociocultural, política y poética . Una de las primeras nubes recolectadas fue vista el 18 de enero en el invierno de 2017 en Madrid.
Además, pregunta la "condición de archivo". Lo que me interesa de la condición de archivo es que generalmente también incluye cosas que no son visibles simultáneamente. Por lo tanto, es difícil describirlo, captarlo o registrarlo como un todo porque siempre consta de partes / documentos individuales separados e independientes, etc. que pueden cambiar continuamente su posición, visibilidad, accesibilidad y contextualización. Este International Cloud Archive No 1 se alimenta de una colección digital de innumerables capturas de nubes, almacenadas, visualizadas parcialmente y no dirigidas. Grabado entre - 2017-2019. El elemento estético del International Cloud Archive No 1 es su materialidad, volumen de tiempo, vaguedad geográfica e iconografía - construido por el registro de 'Información' para proporcionar una evidencia de lo real.

Artist website: https://mirjamkroker.com

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1 photography on color printed on paper, epoxi resin, DM boxes, labels & table

2017-2019

Mirjam Kroker

International Cloud Archive nº1. Table, 2017-19

International Cloud Archive nº1. Table

Mirjam Kroker

41 units: 40 x cases 23x32x9cm, 1 case 23x32x2cm, stacked compactly 135x70x33cm
1x table 96x230-164x55cm
2x carrier objects/modul (red) 35x35x12cm


The International Cloud Archive is an ongoing intent to establish a stable ground through the capturing, collecting and archiving of as many clouds as possible and reflecting on this practice to stimulate a thinking process of our contemporary condition of the now and its sociocultural political and poetic implication. One of the first clouds collected was viewed on January 18th in the winter of 2017 in Madrid.
Besides, it inquires the ‘archiving condition’. What interests me about the archive condition is that it usually also includes things that are not visible simultaneously. Therefore, it is challenging to describe, grasp, or record it as a whole because it always consists of separate, independent individual parts/documents, etc. that can continuously change their position, visibility, accessibility, and contextualization. This International Cloud Archive No 1 is fed from a digital collection of countless/stored / partially viewed and undirected captures of clouds. Recorded between - 2017-2019
​The aesthetic element of the International Cloud Archive No 1 is its materiality, time volume, geographical vagueness and iconography - built up by the recording of 'Information' to provide an evidence of the real.

Artist website: https://mirjamkroker.com

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41 units: 40 x cases 23x32x9cm, 1 case 23x32x2cm, stacked compactly 135x70x33cm Colour prints on paper, MDF (medium-density fiberboard), varnish, epoxy resin, labels 1x table 96x230-164x55cm 2x carrier objects/modul (red) 35x35x12cm

2017-19

19000 EUR
Taxes not included

Mirjam Kroker

International Cloud Archive nº1. Palets, 2017-19

International Cloud Archive nº1. Palets

Mirjam Kroker

41 units: 40 x cases 23x32x9cm, 1 case 23x32x2cm, stacked compactly 135x70x33cm
1x table 96x230-164x55cm
2x carrier objects/modul (red) 35x35x12cm

The International Cloud Archive is an ongoing intent to establish a stable ground through the capturing, collecting and archiving of as many clouds as possible and reflecting on this practice to stimulate a thinking process of our contemporary condition of the now and its sociocultural political and poetic implication. One of the first clouds collected was viewed on January 18th in the winter of 2017 in Madrid.
Besides, it inquires the ‘archiving condition’. What interests me about the archive condition is that it usually also includes things that are not visible simultaneously. Therefore, it is challenging to describe, grasp, or record it as a whole because it always consists of separate, independent individual parts/documents, etc. that can continuously change their position, visibility, accessibility, and contextualization. This International Cloud Archive No 1 is fed from a digital collection of countless/stored / partially viewed and undirected captures of clouds. Recorded between - 2017-2019
​The aesthetic element of the International Cloud Archive No 1 is its materiality, time volume, geographical vagueness and iconography - built up by the recording of 'Information' to provide an evidence of the real.

Artist website: https://mirjamkroker.com

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41 units: 40 x cases 23x32x9cm, 1 case 23x32x2cm, stacked compactly 135x70x33cm Colour prints on paper, MDF (medium-density fiberboard), varnish, epoxy resin, labels 1x table 96x230-164x55cm 2x carrier objects/modul (red) 35x35x12cm

2017-19

Mirjam Kroker

(2020) from: earth to: world, 2020

(2020) from: earth to: world

Mirjam Kroker



Artist website: https://mirjamkroker.com

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TV Start 4004, pencil drawing on waxed paper adhered to television screen

2020

Mirjam Kroker

(2020) from: earth to: world, 2020

(2020) from: earth to: world

Mirjam Kroker

TV Start 4004, pencil drawing on waxed paper adhered to television screen.

Artist website: https://mirjamkroker.com

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TV Start 4004, pencil drawing on waxed paper adhered to television screen

2020

Judith Egger

Silicium I y Silicium II, 2016

Silicium I y Silicium II

Judith Egger

Diptych, individually framed work with a beech frame and conservation glass.
The work Silicium I and II is one of the artistic outcomes that developed during the project URSPRUN/ORIGINS (2015-2017) where I went into a dialogue with Dieter Braun, Professor for Systems Biophysics about the origins of life on earth.

During one of my numerous visits in his laboratory, I found a beautiful reflecting dish in the waste bin, already broken. I learned that this dish was made out of silicon and was an important part of a key experiment on temperature gradients - a recreation of the temperature non-equilibrium in hot volcano stones. It is called the „thermal trap“. I took the plate back to my studio, glued it onto a piece of paper and started to let my mind wonder about the cracks and irregular fractures. Aimlessly I followed the cracks with my pen, put all kinds of thoughts about the origins of life on the paper and drew other connections.

When I decided to stop, I took a photograph to document what I had done.
At home on my computer I looked at the photo and discovered my own distorted, fractured face in the reflection. I had to laugh because it looked grotesque but then I realised that this was the perfect self portrait of me in the middle of this project - how I struggled to understand and boil down this vast topic in some definite art work. It dawned on me that I wont be able to sum up the results of the dialoge with Dieter Braun about the "origin of life“ in one major piece. I accepted the fact that whatever I create will deal only with a tiny part of this subject. It was like finding single pieces of a giant puzzles without ever getting the bigger picture together. And in a way, this brought me back to my own artistic approach which often is non linear and chaotic.

Artist website: http://www.judithegger.de/

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Diptych. Collage, Silicon disk and handwritten with pen on paper. (I) Print with pigmented inks on Hanemühler paper.(II) Each 29,5 x 21 cm

2016

Judith Egger

Field notes from the wild. Case, 2018

Field notes from the wild. Case

Judith Egger

Following pseudo-scientific procedures, Judith Egger presents the results of an ongoing investigation, which starts from the observation of natural events that catch her attention and which she pursues, analyzes, photographs, draws, describes and with whom she tries to come into contact.In the images she mixes the absurd, the improbable, with tones of humor and melancholy. Perhaps it is a metaphor for the human condition, bewildered by the noise and stress of a capitalist society that takes us away from our most essential origin, from Nature.
Judith Egger goes on expeditions in the forest, in an attempt to get closer to that nature that is strange to us, to understand its rhythms and reestablish the lost bond. These nocturnal experiences. Along with the archival photographic material, we find traces of vegetal forms printed on paper, notes, records of conversations, official documents and preparatory drawings, which emerge during the creative process.

Artist website: http://www.judithegger.de/

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Photography, scratches, engarving, notes, glovess, texts & wooden shelf.

2018

1500 EUR
Taxes not included

Judith Egger

Field notes from the wild. Exhibition detail, 2018

Field notes from the wild. Exhibition detail

Judith Egger

Following pseudo-scientific procedures, Judith Egger presents the results of an ongoing investigation, which starts from the observation of natural events that catch her attention and which she pursues, analyzes, photographs, draws, describes and with whom she tries to come into contact.In the images she mixes the absurd, the improbable, with tones of humor and melancholy. Perhaps it is a metaphor for the human condition, bewildered by the noise and stress of a capitalist society that takes us away from our most essential origin, from Nature.
Judith Egger goes on expeditions in the forest, in an attempt to get closer to that nature that is strange to us, to understand its rhythms and reestablish the lost bond. These nocturnal experiences. Along with the archival photographic material, we find traces of vegetal forms printed on paper, notes, records of conversations, official documents and preparatory drawings, which emerge during the creative process.

Artist website: http://www.judithegger.de/

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Artist book.Installation. Pictures, scratches, engarving, notes, glovess, texts & wooden shelf.Variable measures

2018

Judith Egger

Transmission wood, 2018

Transmission wood

Judith Egger

Communicate with “the wild“ while walking the streets of Paris with a special antenna. Will any messages be received, could any connections be made? This experiment might enable further insights. TRANSMISSION WOOD is part of an ongoing project called “field notes from the wild“ where Judith Egger explores the complex relationship between contemporary western society and “the wild“.
The film has been produced by sometime Studio/Paris in 2018. Camera by Ramuntcho Matta and Valery Faidherbe. Edited by Valery Faidherbe.

This work is related to the video performance "Transmission waves" 2019 and "Transmission wind" 2020.

Artist website: http://www.judithegger.de/

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Video performance. Color digital video with sound

2018

Judith Egger

Transmission waves, 2019

Transmission waves

Judith Egger

"Transmission waves" shows the attempt to get in close touch with the water element. Recorded in Alicante on the beach of San Juan.

This work is related to the video performance "Transmission Wood" 2018 and "Transmission wind" 2020.

Artist website: http://www.judithegger.de/

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Video performance. Color digital video with sound

2019

Judith Egger

Transmission wind, 2020

Transmission wind

Judith Egger

"Transmission wind" shows the attempt to get in close touch with the air element. The goal was to experience the physically challenging movements of the wind and to visualise this experiment with the help of a "wind cone costume".
This film was shot during a rare Föhn - storm in the Bavarian Alps by Sabine Mooshuber, autumn 2020.

"Transmission waves" 2019 and "Transmission wind" 2020.

Artist website: http://www.judithegger.de/

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Color digital video with sound

2020

Judith Egger

Uncharted wild being, 2018

Uncharted wild being

Judith Egger

This work is related to the artist book and installation "Field notes from the wild" 2018, and the video performance "Transmission wood" 2018.

Artist website: http://www.judithegger.de/

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Digital photography on canvas Raunch Florez

2018

Mirjam Kroker

The Performance of the Moon, 2019

The Performance of the Moon

Mirjam Kroker

This video is delivered in a case designed by the artist.
his work resulted as part of experimental research with the working title: Think Like A Mountain / because colonizing heaven might not be such a good idea, at Cultureland, Netherlands, 2018 transition 2019.
Which questions can arise through the combination of the recording of recurring more or less everyday happenings like (moon in the sky - moving image) and (clapping hands- sonic recording) (that initially have nothing to do with each other.
Are you really sure that you have enjoyed the daily performance of the moon with enough attention? This work asks for it without needing any further explanation.

Artist website: https://mirjamkroker.com

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Color digital video with sound

2019

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