Markus Sworcik, René Stiegler

A terrible doorstop

Project Info

  • 💙 KEIL Gallery
  • đŸ–€ Markus Sworcik, RenĂ© Stiegler
  • 💛 Elsbeth Ebenberger

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Installation View, Markus Sworcik & René Stiegler, 2022
Installation View, Markus Sworcik & René Stiegler, 2022
Installation View, Markus Sworcik & René Stiegler, 2022
Installation View, Markus Sworcik & René Stiegler, 2022
René Stiegler,  U-31, 2022, 235 x 120 x 36 cm, Steel Bars, Hair, Lead, PLA, Paint, Burned Wood, Aluminum, B&W Printing, Polypropylene, Nylon
René Stiegler, U-31, 2022, 235 x 120 x 36 cm, Steel Bars, Hair, Lead, PLA, Paint, Burned Wood, Aluminum, B&W Printing, Polypropylene, Nylon
René Stiegler,  U-31, 2022, 235 x 120 x 36 cm, Steel Bars, Hair, Lead, PLA, Paint, Burned Wood, Aluminum, B&W Printing, Polypropylene, Nylon
René Stiegler, U-31, 2022, 235 x 120 x 36 cm, Steel Bars, Hair, Lead, PLA, Paint, Burned Wood, Aluminum, B&W Printing, Polypropylene, Nylon
Markus Sworcik, Heavy Metal Song 1, 2022, Unreal Engine, AI-Generated Photography, Sound, ca. 6:38 min
Markus Sworcik, Heavy Metal Song 1, 2022, Unreal Engine, AI-Generated Photography, Sound, ca. 6:38 min
Markus Sworcik, Voting for the axe, 2022, 107 x 24 x 8 cm, Resin, Steel, Polymer Clay
Markus Sworcik, Voting for the axe, 2022, 107 x 24 x 8 cm, Resin, Steel, Polymer Clay
Installation View, Markus Sworcik & René Stiegler, 2022
Installation View, Markus Sworcik & René Stiegler, 2022
Markus Sworcik, Vexing/Spike 1, 2022, 103 x 68 x 0,4 cm, Silicone
Markus Sworcik, Vexing/Spike 1, 2022, 103 x 68 x 0,4 cm, Silicone
Markus Sworcik, AR35ghT, 2022, 199 x 7,5 x 11 cm, Aluminum, Steel, Polyethylene, Polymer Clay, Iron Wire
Markus Sworcik, AR35ghT, 2022, 199 x 7,5 x 11 cm, Aluminum, Steel, Polyethylene, Polymer Clay, Iron Wire
Markus Sworcik, AR35ghT, 2022, 199 x 7,5 x 11 cm, Aluminum, Steel, Polyethylene, Polymer Clay, Iron Wire
Markus Sworcik, AR35ghT, 2022, 199 x 7,5 x 11 cm, Aluminum, Steel, Polyethylene, Polymer Clay, Iron Wire
Installation View, René Stiegler & Markus Sworcik
Installation View, René Stiegler & Markus Sworcik
René Stiegler, Kick Start, 2022, 280 x 40 x 42 cm, Boots, Wood, Hay, Resin, Steel Chain, Steel Wire
René Stiegler, Kick Start, 2022, 280 x 40 x 42 cm, Boots, Wood, Hay, Resin, Steel Chain, Steel Wire
Markus Sworcik, Pile of Claws, 2022, 25 x 24 x 6 cm, Resin, Stainless Steel Screws
Markus Sworcik, Pile of Claws, 2022, 25 x 24 x 6 cm, Resin, Stainless Steel Screws
René Stiegler,  Portal (so beautiful, 2022), 2022, 150 x 105 x 142 cm, Polystyrol, Kit, PLA, Wire, Hot Glue, Paint
René Stiegler, Portal (so beautiful, 2022), 2022, 150 x 105 x 142 cm, Polystyrol, Kit, PLA, Wire, Hot Glue, Paint
Markus Sworcik & René Stiegler, Unititled (y), 2022, 51,5 x 16 x 7 cm, Dried Flower, Latex, Waterslide Decal Foil
Markus Sworcik & René Stiegler, Unititled (y), 2022, 51,5 x 16 x 7 cm, Dried Flower, Latex, Waterslide Decal Foil
Markus Sworcik & RenĂ© Stiegler, Don‘t Bother, 2022, Variable Dimensions, Dried Flowers, Binding Wire, Neon Light Tubes, + Untitled (Spike), 2022, Variable Dimensions, Burned Wallpaint
Markus Sworcik & RenĂ© Stiegler, Don‘t Bother, 2022, Variable Dimensions, Dried Flowers, Binding Wire, Neon Light Tubes, + Untitled (Spike), 2022, Variable Dimensions, Burned Wallpaint
Markus Sworcik & RenĂ© Stiegler, Kornfeld, 2022, Variable Dimensions, Wheat Ears, Paint + Don‘t Bother, 2022, Variable Dimensions, Dried Flowers, Binding Wire, Neon Light Tubes
Markus Sworcik & RenĂ© Stiegler, Kornfeld, 2022, Variable Dimensions, Wheat Ears, Paint + Don‘t Bother, 2022, Variable Dimensions, Dried Flowers, Binding Wire, Neon Light Tubes
RenĂ© Stiegler, Please don‘t make me into something I‘m not, 2022, 54 x 22 x 16 cm, PLA, Putty Kit, Filler, Paint
RenĂ© Stiegler, Please don‘t make me into something I‘m not, 2022, 54 x 22 x 16 cm, PLA, Putty Kit, Filler, Paint
RenĂ© Stiegler, Don‘t Bother, 2022, Variable Dimensions, Dried Flowers, Binding Wire, Neon Light Tubes
RenĂ© Stiegler, Don‘t Bother, 2022, Variable Dimensions, Dried Flowers, Binding Wire, Neon Light Tubes
Markus Sworcik, Flashlight Quest, 2022, 21 x 7 x 5 cm, Flashlight, Polymer Clay, Aluminum, Simcard Holder, Resin, Paint
Markus Sworcik, Flashlight Quest, 2022, 21 x 7 x 5 cm, Flashlight, Polymer Clay, Aluminum, Simcard Holder, Resin, Paint

 piles of supposedly litter describing a reality which we all felt would come, subliminally, subconsciously
 but refuse to acknowledge. Stepping into a wasteland between the preposterous (1). An intrinsic mess, so terrible you are hardly willing to enter, but at the same time crave for. Rough Skins. The calm before the actual event, a wait for change. simply stuck inside a story. Suddenly, I saw all these rearranged objects in this uncomfortable situation, from underneath my desk, under piles of shit, cut themselves into ribbons. some encounters, visible as blinking phones (ready to Be answered). Peasants of tech, buried in litter, mostly charred, weathered, seemingly scarred. Some of them are untested verified objects and material stemming from a peculiar crisis. All those rituals, screaming with wet lungs fanning smoke and haze. Even the sun's rotation is off by unknown degrees. But what do you expect? Endless crippling scenes of us running around in the dark. holding candles trying to keep them alive in the arising wind (2), just some with flashlights. Reoccurring tools appear– boots to kick ass. And then, as predicted, a cold stormy climate upheaval takes place which dooms everyone. But look, there is still hope, which can be filled with thoughtlessness, fake colors and foremost possibilities. In the future we adore creatures with subtle, rough genitals and small limbs. species of amnesia. (1) an ordered wasteland, being content with failure, future and past, old and new
 (2) Candle scene, NOSTALGHIA (1983), Tarkovsky The duo exhibition "A terrible doorstop" by Markus Sworcik and RenĂ© Stiegler attempts to sketch a non-functional state and at times suggests a dilemma, a state of limbo. The exhibition juggles intrinsic states of mind, materiality that embodies these impressions, and a penchant for the improvisational. Both artists' interest comes from the scenic, getting lost in atmospheres, creating a sense of space and object. A space that feels different, strange. The intended emotional worlds touch anomalies, fears, inner frictions, dystopias or also fast growing influence by technology. The tipping states addressed are also found in society, and everyday life. Likewise, the objects and works in this exhibition, constructed both individually and collectively, carry emotional threshold states.

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