Nicolaus Schafhausen

Markus Heinzelmann

The films, photos, installations, and graphic artworks of Austrian artist Markus Schinwald create a highly charged aesthetic collection of curios in which the human being stands in the focal point of observation. Physical extensions, prostheses, and mechanical apparatuses transform human beings into marionette-like dolls and simultaneously give mechanical automatons a mystical habitat all their own. In his latest film entitled “Children's Crusade,” the artist links motifs from children's crusades of the High Middle Ages with legends of the Pied Piper, which arose at nearly the same time. The rat-catching piper appears as a doll or mannequin, i.e. an idea that has come to life from a perverted sort of Christendom. Conceived as an artist's book, Markus Schinwald presents the entire spectrum of the artist's wideranging oeuvre. The book was published on the occasion of the exhibition Tableau Twain, September 1 – October 24, 2004, a cooperative project of Frankfurter Kunstverein and Siemens Arts Program. Contributors Vanessa Joan Müller, interview by Markus Heinzelmann

Markus Schinwald

Magdalena Holzhey

Matthia Loebke

In what way do -formal and ideal influences continue in another reality of life? The Israeli photographer explores such questions in his first solo show in Germany at Haus Esters. Built by architect Ludwig Mies van der Rohe in the late nineteen twenties, Haus -Esters is one of the most iconic structures of modernist architecture in Germany and can be associated with notions of an open, forward-looking society. The special atmosphere and architecture of these former private homes have regularly inspired artists since being repurposed as exhibition venues for contemporary art. Sharon Ya'ari builds on this site-specific tradition to the extent that he developed new works and series for Haus Esters based on the reality of his own life. The starting point of Ya'ari's photographic exploration is the connection between the ideas of European modernism between the World Wars and the effort to implement them in the young State of Israel. Sharon Ya'ari traces the legacy of modernist formal language in his native country. He is not concerned with the perspective of architectural photography but rather with marginalia, the relics of everyday life.

Markus Heinzelmann

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