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Mariechen Danz

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Exhibitions
CV

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Exhibition view 'Clouded in Veins', Kunsthalle Recklinghausen, Germany, 2021,
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Exhibition view 'Clouded in Veins', Kunsthalle Recklinghausen, Germany, 2021,
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Exhibition view 'Clouded in Veins', Kunsthalle Recklinghausen, Germany, 2021,
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<i>Installation view 16th Istanbul Biennial, Turkey, 2019</i>,
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<i>Body Bricks</i>,
2019<br />
2455 individually imprinted clay bricks (replica of original brick from the historical shipyards, Golden Horn), in cooperation with Işıklar Tuğla, Bartın,
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Installation view 16th Istanbul Biennial, Turkey, 2019

<i>Body Bricks</i>,
2019<br />
2455 individually imprinted clay bricks (replica of original brick from the historical shipyards, Golden Horn), in cooperation with Işıklar Tuğla, Bartın,
<br />
Installation view 16th Istanbul Biennial, Turkey, 2019

<i>Dig of No Body (Organ*isation)</i>,
2019<br />
aluminium, crystal, cement, copper, coal, grass seeds, horn, iron, resin, pigment, plastic trash, sand, soil, steel,
185 x 60 x 50 cm<br />
Installation view 16th Istanbul Biennial, Turkey, 2019

<i>Installation view, “Ore Oral Orientation”, WENTRUP, Berlin, Germany, 2018</i>,
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aluminium works in cooperation with Genghis Khan Fabrication Co.

<i>Installation view, “Ore Oral Orientation”, WENTRUP, Berlin, Germany, 2018</i>,
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<br />
aluminium works in cooperation with Genghis Khan Fabrication Co.

<i>Installation view, “Ore Oral Orientation”, WENTRUP, Berlin, Germany, 2018</i>,
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<br />
aluminium works in cooperation with Genghis Khan Fabrication Co.

<i>Installation view, Martin-Gropius Bau, 'And Berlin Will Always Need You', Berlin, Germany</i>,
2019<br />

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Photo: Trevor Good

<i>Installation view, Martin-Gropius Bau, 'And Berlin Will Always Need You', Berlin, Germany</i>,
2019<br />

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Photo: Trevor Good

<i>The Dig of No Body (soil sample)</i>,
2011/2018<br />
copper, plaster, bronze, ground glass, resin, soil, cement, shells, plastic trash, clay, marble, horn, steel, sand, semi-precious stones, wood, aluminium, Coal, Steel base,
186 x 72 x 68 cm<br />
Installation view Agora, a High Line Commission, New York 2018/2019

<i>Installation view, Martin-Gropius Bau, 'And Berlin Will Always Need You', Berlin, Germany</i>,
2019<br />

<br />
Photo: Trevor Good

<i>Installation view, Martin-Gropius Bau, 'And Berlin Will Always Need You', Berlin, Germany</i>,
2019<br />

<br />
Photo: Trevor Good

<i>WOMB TOMB</i>,
2014/ 2018<br />
mixed media installation,
various dimensions<br />
Installation view “Blind Faith: Between the Visceral and the Cognitive in Contemporary Art”, Haus der Kunst, Munich, Germany, 2018. Photo: Max Geutler

<i>The Dig of No Body (soil sample)</i>,
2011/2018<br />

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Installation view Agora, a High Line Commission, New York 2018/2019

<i>WOMB TOMB</i>,
2014/ 2018<br />
mixed media installation,
various dimensions<br />
Installation view “Blind Faith: Between the Visceral and the Cognitive in Contemporary Art”, Haus der Kunst, Munich, Germany, 2018. Photo: Max Geutler

<i>WOMB TOMB</i>,
2014/ 2018<br />
mixed media installation,
various dimensions<br />
Installation view “Blind Faith: Between the Visceral and the Cognitive in Contemporary Art”, Haus der Kunst, Munich, Germany, 2018. Photo: Max Geutler

<i>Knot in Arrow: Ore Oral Orientation</i>,
2017<br />
performance Videostill,
Length: 16:46 min, 16:9, Sound<br />
Viva Arte Viva, curated by Christine Macel, 57. Biennale di Venezia

<i>Ore Oral Orientation</i>,
2011-2017<br />
Mixed Media Installation,
<br />
“Viva Arte Viva”, curated by Christine Macel, 57. Biennale di Venezia, Venice, Italy, 2017. Photo: Roman März

<i>Ore Oral Orientation</i>,
2011-2017<br />
Mixed Media Installation, aluminium works in cooperation with Genghis Khan Fabrication Co.,
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“Viva Arte Viva”, curated by Christine Macel, 57. Biennale di Venezia, Venice, Italy, 2017. Photo: Roman März

<i>Ore Oral Orientation</i>,
2011-2017<br />
Mixed Media Installation,
<br />
“Viva Arte Viva”, curated by Christine Macel, 57. Biennale di Venezia, Venice, Italy, 2017. Photo: Roman März

<i>Ore Oral Orientation</i>,
2011-2017<br />
Mixed Media Installation,
<br />
“Viva Arte Viva”, curated by Christine Macel, 57. Biennale di Venezia, Venice, Italy, 2017. Photo: Roman März

<i>Knot in Arrow: Ore Oral Orientation</i>,
2017<br />

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Performance by Mariechen Danz with Ronel Doual, Marko Lakobrija, Brandon Rosenbluth, “Viva Arte Viva” curated by Christine Macel, 57. Biennale di Venezia, Venice, Italy, 2017
Music by Gediminas Žygus & UNMAP, aluminium works in cooperation with Genghis Khan Fabrication Co.
video still

<i>Knot in Arrow: Ore Oral Orientation</i>, 2017 (performance video)<br />
Performance by Mariechen Danz with Ronel Doual, Marko Lakobrija, Brandon Rosenbluth, aluminium works in cooperation with Genghis Khan Fabrication Co., “Viva Arte Viva” curated by Christine Macel, 57. Biennale di Venezia, Venice, Italy, 2017,
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<i>Clouded in Veins: A Subjective Geography</i>,
2017<br />
Performance by Mariechen Danz with Ronel Doual, Marko Lakobrija, Brandon Rosenbluth, “Viva Arte Viva” curated by Christine Macel, 57. Biennale di Venezia, Venice, Italy, 2017,
Installation “Pars pro Toto” by Alicja KwadeCostumes by Mariechen Danz, featuring Kerstin Brätschs “Unstable Talismanic Rendering”. Music by Gediminas Žygus & UNMAP<br />
Photo: Dominik Bindl

<i>Clouded in Veins: A Subjective Geography</i>, 2017<br />
Performance by Mariechen Danz with Ronel Doual, Marko Lakobrija, Brandon Rosenbluth, “Viva Arte Viva” curated by Christine Macel, 57. Biennale di Venezia, Venice, Italy, 2017,
Installation “Pars pro Toto” by Alicja Kwade. Costumes by Mariechen Danz, featuring Kerstin Brätschs “Unstable Talismanic Rendering”. Music by Gediminas Žygus & UNMAP<br />
Video : Duyi Han

<i>Of Scream Of Stone</i>,
2016<br />
Installation “Polyphonies”, Centre Pompidou, Paris, France, 2016,
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photo : Herve Veronese

<i>Clouded in Veins: A Subjective Geography</i>,
2017<br />
Performance by Mariechen Danz with Ronel Doual, Marko Lakobrija, Brandon Rosenbluth, “Viva Arte Viva” curated by Christine Macel, 57. Biennale di Venezia, Venice, Italy, 2017,
Installation “Pars pro Toto” by Alicja KwadeCostumes by Mariechen Danz, featuring Kerstin Brätschs “Unstable Talismanic Rendering”. Music by Gediminas Žygus & UNMAP<br />
videostill

<i>Of Scream Of Stone</i>,
2016<br />
Installation “Polyphonies”, Centre Pompidou, Paris, France, 2016,
<br />
videostill

<i>Of Scream Of Stone</i>,
2016<br />
Installation “Polyphonies”, Centre Pompidou, Paris, France, 2016,
<br />
videostill
Performance with Ronel Doual, Brandon Rosenbluth. Music by Gediminas Žygus & UNMAP

<i>Digestive System 3D (fossalizing / extinct horn)</i>,
2018<br />
ammonite pair, unakite, rhyolite, chrysoprase, landscape jesper, tree agate, brekzien jasper, clinozoisite, resin,
65 x 15 x 23 cm<br />

<i>digestive system (map toxin)</i>,
2015<br />
Polyurethane with fire stones, pigment,
65 x 23 x 8 cm<br />
Photo: Paula Winkler

<i>Heart (copper)</i>,
2018<br />
copper, resin,
8.5 x 11 x 17.5 cm<br />
aluminium work in the background in cooperation with Genghis Khan Fabrication Co.

<i>Liver (map / active)</i>,
2018<br />
agate egg pink with crystaline, pigment, resin, aluminium work in the background in cooperation with Genghis Khan Fabrication Co.,
25 x 15 x 10 cm<br />

<i>Brain Cave</i>,
2015<br />
Polyurethan with marble egg stone,
17 x 10 x 8,5 cm<br />
Photo: Paula Winkler

<i>learning organ (intestine abc)</i>,
2013<br />
polyurethane, foam,
20 x 22 x 10 cm<br />
Photo: Paula Winkler

<i>Mask (Kopfschnitt / toxout)</i>,
2015<br />
polyurethane, pigment,
22 x 14 x 2.5 cm<br />

<i>Mask (Kopfschnitt / Beton)</i>,
2015<br />
Cement,
22 x 14 x 2,5 cm<br />

<i>body/ydob (a flayed mirage)</i>,
2012<br />
in collaboration with pupils from the Nashorn-Klasse, Bremen,
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Installation view “BERLIN.STATUS [2]”, Künstlerhaus Betahnien, Berlin, Germany, 2013

<i>Imprint Pressures</i>,
2013<br />
Engraved stone,
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Photo: Paula Winkler

<i>Modular Glyphic System (Mariechen Danz in collaboration with Genghis Khan Fabrication Co.)</i>,
2013 / 2017<br />

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Installation view “Artificial Tears”, Vienna Biennale , MAK Museum für Angewandte Kunst, Vienna, Austria, 2017
Photo: Aslan Kudrnofsky

<i>Modular Glyphic System (Mariechen Danz in collaboration with Genghis Khan Fabrication Co.)</i>,
2013 / 2017<br />

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Installation view “Artificial Tears”, Vienna Biennale , MAK Museum für Angewandte Kunst, Vienna, Austria, 2017
Photo: Aslan Kudrnofsky

<i>Modular Glyphic System (Mariechen Danz in collaboration with Genghis Khan Fabrication Co.)</i>,
2013 / 2017<br />

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Installation view “Artificial Tears”, Vienna Biennale , MAK Museum für Angewandte Kunst, Vienna, Austria, 2017
Photo: Aslan Kudrnofsky

<i>Modular Glyphic System (Mariechen Danz in collaboration with Genghis Khan Fabrication Co.)</i>,
2013 / 2017<br />

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Installation view “Artificial Tears”, Vienna Biennale , MAK Museum für Angewandte Kunst, Vienna, Austria, 2017
Photo: Aslan Kudrnofsky

<i>book (unlearning) - entire histories are learnt by heart</i>,
2013<br />
polyurethane, aluminum, copper,
40 x 30 x 3 cm<br />

<i>A Voiced Gesture</i>,
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performance,
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Symposium “Unmapping the Renaissance”, Palazzo Strozzi Florence. Photo: Eva Sauer

<i>Ideographic Insulation</i>,
2008/2014<br />

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Installation view, “Ideographic Insulation”, CAN Centre d’art Neuchâtel, 2014. Photo: A. Satus

<i>Open Book: Vessel Veins</i>,
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“Methods of Inscription: bodies Ink“, 2013, in collaboration with Genghis Khan Fabrication Co., screen print on aluminium,
3 m x 1,5 m x 2 m<br />
Installation View, “Mapping the Body”, Galerie im Taxispalais, Innsbruck 2016. Photo: Rainer Iglar

<i>Open Book: Vessel Veins</i>,
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Installation view, “Ideographic Insulation”, CAN Centre d’art Neuchâtel, 2014. Photo: A. Satus

<i>learning cube (soil sample)</i>,
2011<br />
pebbles, sand, Styrofoam, wood chips, Paper, plastic and glass trash, dirt, epoxy,
42 × 42 × 42 cm<br />

<i>The dig of no body</i>,
2011<br />

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Photo: Nina Hoffmann

<i>Knot in Arrow: The Dig of No Body</i>,
2011<br />

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Installation view “Based in Berlin”, KW, Hamburger Bahnhof & other locations. Photo: Nina Hoffmann

<i>learning cube (soil sample)</i>,
2011<br />
pebbles, sand, Styrofoam, wood chips, Paper, plastic and glass trash, dirt, epoxy,
42 × 42 × 42 cm<br />

<i>Statue for Gesticulation</i>,
2010<br />

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Installation view „Love is colder than capital“, Kunsthaus Bregenz, Bregenz, Austria, 2013

<i>Statue for Gesticulation</i>,
2010<br />

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Installation view „Love is colder than capital“, Kunsthaus Bregenz, Bregenz, Austria, 2013

<i>Statue for Gesticulation</i>,
2010<br />

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Installation view „Love is colder than capital“, Kunsthaus Bregenz, Bregenz, Austria, 2013

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Portrait Mariechen Danz, © the artist and Adam Awazuhara

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