Submission
Daniel Stubenvoll

Beyond Limits 2


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Key Image, Daniel Stubenvoll, 2022
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Beyond Limits 2, Exhibition Entrance with Wall
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Beyond Limits 2, Exhibition View (o.T., Bootleg, MK: 1995 vision for 2020)
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MK: 1995 vision for 2020, Daniel Stubenvoll, 2022
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MK: 1995 vision for 2020 (Transportation), Daniel Stubenvoll, 2022
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MK: 1995 vision for 2020 (QOL) & MK: 1995 vision for 2020 (Economy), Daniel Stubenvoll, 2022
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Beyond Limits 2, Exhibition View (Bootleg, MK: 1995 vision for 2020)
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Bootleg, Daniel Stubenvoll, 2022
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Bootleg, Daniel Stubenvoll, 2022
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Beyond Limits 2, Exhibition View (o.T., Bootleg, Entity Models)
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o.T., Daniel Stubenvoll, 2022
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Beyond Limits 2, Exhibition View (MK: 1995 vision for 2020, Bootleg, Entity Models)
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Entity Models, Daniel Stubenvoll, 2022
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Entity Model (1973), Daniel Stubenvoll, 2022
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Entity Models, Daniel Stubenvoll, 2022
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EM #12, Daniel Stubenvoll, 2022
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Entity Model Nr.4 (lug), Daniel Stubenvoll, 2022
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Entity (Coco) Nr.9, Daniel Stubenvoll, 2022
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Entity Model Nr. 6, Daniel Stubenvoll, 2022
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Entity Model Nr. 8 (MK: the point), Daniel Stubenvoll, 2022

In his exhibition ‘Beyond Limits 2’, Daniel Stubenvoll relates the theme of urban development to the phenomenon of knock-offs and copies. Stubenvoll’s art practice is characterised by intensive walks in cities, observations on accessibility and the discovery of peculiarities in buildings. His works make use of quotations, repetitions of form and breaks in the buildings that surround us as well as in his (own) visual world.

To visualise construction projects, the real estate and construction industries use images that repeat a standard repertoire of urban or rural life. In their implementation, too, standardised materials and set pieces are used. Stubenvoll’s series ‘Entity Models’ (2022) breaks away from this by using handmade originals. For this, he studied metal gadgets on doors and windows in detail. His works seem to have a purpose in mind as if created for use around the house –a bell, a sign, a ladder or a foot grille, for example.

His book ‘Bootleg’ (2022) and the series ‘MK: 1995 vision for 2020’ (2022) explore the concept of copying and framing as essential components of aesthetic expression. Historical images of Milton Keynes, an English new town, serve as a starting point. The works consist of found footage material from the publication ‘Helmut Jacoby. Architectural Drawings 1968–1976’ as well as from a marketing film from 1995, which envisages the future of Milton Keynes in 2020. The term bootleg refers to a form of pirate copy. Copying and quotation play a major role in architecture and the discourse surrounding it: Stubenvoll has ‘stolen’ this exhibition title from his own book ‘Beyond Limits’ (Zurich/Beijing 2020).

Daniel Stubenvoll (*1984 in Giengen, lives in Frankfurt am Main) studied at the Kassel Art Academy with Bjørn Melhus, Bernhard Prinz and Florian Slotawa, and graduated as a Meisterschüler under Johanna Schaffer in 2014. In 2021, he received a travel grant to Japan from the Hessische Kulturstiftung. Most recently, his work has been shown at Basis Frankfurt (2020), the Kunstverein Ulm (2019), the Municipal Gallery Nordhorn (2019), the Itoshima Arts Farm Fukuoka Festival (2018), the MMCA Museum of Modern and Contemporary Art Seoul (2018) and the Bangkok Biennial (2018). Daniel Stubenvoll’s first institutional solo exhibition Pyramids at the Kunsthalle Darmstadt (2016) explored the mechanisms of inclusion and exclusion in architecture.

The exhibition and the programme are supported by the Niedersächsisches Ministerium für Wissenschaft und Kultur and the Stadt- und Samtgemeinde Neuenhaus.