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Artist Residency at Nirox Sculpture Park; Johannesburg, South Africa
July – September 2018

Spotlight 2018 at Contemporary Sculpture Fulmer, William Bennington Gallery, UK
16th June 2018 - October 2018
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Among Her Leisure Occupations is Birdwatching
Royal Society of Sculptors Spotlight Award
Contemporary Sculpture Fulmer; UK
2018

Birdwatching is an occupation, trying to see what you hear and hear what you see. The flights and calls of birds can foretell the future!

Among Her Leisure Occupations is Birdwatching opposes the structures of vacillation and intrinsic doubt of its construction. Its physical form is manifest in a fragile state, and by that, the settings produces a state of venture. The two sculptures are temporarily rooted into the natural surrounding. The result is self-preservation.

The installation does not depend on an exclusively retinal assessment and activity. Rather, it is prescribed by its construction of holding itself together and its proportion system referencing The Vitruvian Man – a proportion system based on the human body.


Among Her Leisure Occupations is Birdwatching I
Variable Dimensions
Mild Steel, Cable Winch Pullers, Swivel Eye Bolts, Steel Cable Wire
2018

Among Her Leisure Occupations is Birdwatching II
Variable Dimensions
Mild Steel, Cable Winch Puller, Eye Bolt, Latex Rope, Sling
2018
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The Boatswain’s Reclaim
Yorkshire Sculpture Park, UK
2018

His name escapes me, but I remember him as a very pleasant, easy going, well built, physical light-haired man. He wasn’t a boyfriend, but a companion, who offered to take me sailing.
(Cherry McKee, Drama Student at Bretton Hall College from 1965-68)

The space is occupied – in the sense of entering a place without authority, and often forcibly. As a consequence, the visitor’s movement is limited: the boathouse is blocked by the installation itself. Only the retinal observation of the installation is left behind; only imagination remains. Rather than a physical, three-dimensional experience, the installation becomes a non-physical, two-dimensional, experience.
 
The boathouse was built next to the Lower Lake before the Yorkshire Sculpture Park was founded in 1977. Over the years its function has adapted to serve a range of activities and practical functions for the boatswain and others. Today, the boathouse stands as a site of pause and contemplation, both for the working Artist in Residence and as a breathing space for exhibitions. 

Variable Dimensions
Mild Steel, Steel Wire Rope
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There was Nowhere to Sit PT.1
Platform Southwark; London
2018

Physical spaces are known to us as a continuous area, marked by dimensions of height, depth, and width. All things exist and move within these coordinates; within this homogeneous expanse and native surrounding.

There was Nowhere to Sit PT. I - PT. III is a series of three exhibitions presented by German Artist Marco Miehling as part of the Illuminate Productions artist-in-residence at Platform Southwark
For the first event Archetype Triptych, Marco Miehling presents three works responding to former works: Withdrawn from their initial site-responsive location, the works exist in the absence of previous ordering principles. Each work has been reconstructed: earlier characteristics are replaced with unique archetypes – a primitive mental image inherited from a previous form. Deprived of their individual contexts they are remnants of a past existence.


We pulled the Door shut behind me.
Dimension: 240 x 130 x 12,6 cm
Mild Steel, Linseed Oil, Rope, Cable Winch
2018

We Found a Shelted Cove and dropped Anchor for the Night.
Variable Dimensions
Mild Steel, Linseed Oil, Rope
2018

We rolled past endless Rows of Trees.
Dimension: 240 x 130 x 10 cm
Mild Steel, Linseed Oil, Rope
2018
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A Tree is a Big Plant with a Stick Up in the Middle
Royal College of Art; London
2017

A tree grows thicker year by year; it is always in a transitional moment: it changes, adapts and grows.

A Tree is a Big Plant with a Stick up in the Middle exposes a tree trunk from Green Park, London in a transitional state. The work is under trans- formation, a process by which the object’s nature or appearance is converting into another form.

For the first iteration of the work, the tree trunk was positioned on two concrete ramps at the Royal College of Art, where it was held in place with ropes attached to the building. The single components formed a hermetically-closed construction, holding itself together. After the exhibition, the tree trunk was returned to Hyde Park, although not as an object of nature, instead as an object of functionality. It was further transformed into a memorial bench – in remembrance to the first iteration – that is permanently installed in Hyde Park.

By transforming the plane tree trunk from an object of nature, to a functional object within exhibition and public settings, one object can have different inherent purposes. For each iteration of the work, the underlying logical structure remains the same as the appearance, shape and functionality changes.


360cm x 90cm
London Plane (Platanus x hispanica)
Green Park, London

109cm x 56cm x 42cm
Reinforced Concrete

7m
Dyneema Rope

Swivel Eye Bolt
2 Ton Breaking Load (each)


The work is developed in cooperation with the Hyde Park Office, London

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Untitled
Hotel Mariandl; Munich
2016

Variable Dimensions
Cable Winch, Latex Rope
2016

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The Sauna Discourse
148mm x 210mm
Edition: 3
2016

Introduction (Excerpt)
Bodies and extremities linger, aspiring towards idleness. They proceed slowly, in order to avoid considerable strain. The gaze turns downwards; attention turns inwards. Appearance reveals corporeity, fully disclosing its oddness. Appearances expose the physical, while withholding the spiritual. This is a fragile co-occurrence, which has been designated to be volatile and to disappear. The internal and the external collude with each other: here we reach a potential collapse.

The Sauna Discourse—the space where bodies and limbs gather for purification—produces an in-between state that lies between autonomy and heteronomy. The condition of independence (autonomy) collides with the condition of dependence (heteronomy). Here, an erroneous coherence between perception and meaning manifests itself, through the devices of vagueness and fragility. And by that, the setting produces a state of a venture.
Sprouting from a desire for impartation from all disciplines, language is the space where they all converge. It is that discipline—the discipline of language—the one through which all other disciplines indispensably interrelate. Facing this vacillation, the philosophy of language perpetually demands a continuous process of elucidation and questioning: an aspect that has haunted both ancient and current times.
On the one hand, a Sauna Treatise discloses a dialectical dialogue in an 85°C sauna cabin. A discussion taking place between two nude guests who talk about a bucket in a sauna and its potentiality for becoming. This space ambiguously exists in an alternate state, stranded between a physical and a mental apparition. On the other hand, the dialogue is annotated by an observer’s commentary. While the comment examines Maurice Blanchot’s and Plato’s principles of language as its premises and conclusive remarks, the dialogue itself acts as a hypothesis. The dialogue speculatively transmits the subject of language and its potential into the scene of the sauna cabin (as a space) and the sauna bucket (as an everyday functional object).
The hypothesis expounded in the dialogue are indebted to Marcel Duchamp’s (1887-1968) examination of our perception of everyday objects, regarding their significance in the world of art. Specifically so, through Duchamp’s notion of ‘absolute indifference’. This notion investigates the conditions for creating objects, through a new and enhanced mode of perception. If the sauna bucket has its purpose in holding water, how does this bucket behave when its purpose has been transposed? More so, when this transformation shifts it into a device that aids an exploration of the potentiality of becoming?

Here rests the underlying question of this text: the ways in which rhetoric can impart knowledge and experience to other disciplines and thus, is able to question the sauna bucket’s commitment to its purpose (by examining its potentiality for becoming). On the side-line: the question of the relationship between function-objects and the becoming of the fragment will inevitably approach the matter of design, as an oblique question that is contained in the sauna cabin: how does the discipline of design relate to the becoming of the fragment?

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The Omnibus Project
Galerie der Künstler; Munich
2016

Omnibus is a collective project founded in 2016 by artists Marco Miehling, Michael Mieskes, Fabian Ketisch and Patrick Ostrowsky. The project is focused on developing works of art that are dissociated from the artist’s individual practice. Omnibus is concieved to work for a temporary period of time and together with various artists from different locations and countries. The collective project responds to an Exhibition space’s demands and solely develops site-specific works of art.

For the first time in March 2016, the artists came together as Omnibus while collaborating in a workshop in Athens, Greece. Inside the workshop, the group developed the concept for the Exhibition: ’Omnibus3000’. The Exhibition took place in June 2016 at the Galerie der Künstler in Munich, Germany.


Bench
2522cm x 125cm x 83cm
Concrete, Steel, Multiplex
2016

Scratchings (various artists)
variable dimensions
Glas
2016

Post
950mm x Ø100mm
Plaster
2016

Convex Mirror
Ø244mm
Stainless Steel (cnc-lathe)
2016

Sundial
1500mm x Ø35mm
Aluminium
2016

Soil
4,14ton
Humus
2016

Advertising boxes
820mm x 1020 x 130mm
Multiplex, Wood
2016

Kiosk
197cm x 250cm x 7cm
Steel
2016

Prellbock
400cm x 30cm x 30cm (Wood)
849cm x 12cm x 12cm (Steel)
2016

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Cowley Manor Arts Award 2016
450mm x 75mm x 75mm
Bronze
Edition: 5

400mm x 283mm x 80mm
Copper
Edition: 1

Aramid Rope

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Cowley Manor Arts Award 2016
450mm x 75mm x 75mm
Bronze
Edition: 5

400mm x 283mm x 80mm
Copper
Edition: 1

Aramid Rope

On 21st April 2016, Marco Miehling won the fifth Cowley Manor Arts Award with Untitled (Nature), which comprised a bronze cleat connected to a sunken copper object by rope. A work which explores the merging of space controlled by man with the unspoiled space of nature. Miehling elaborated on the ideas behind this exhibit, explaining that it ‘emphasises the relation between geometry and nature; between the ordered and the unordered; between the presence and the absence.’ Miehling’s Untitled (Nature) will be permanently displayed in the grounds of Cowley Manor, alongside the winning sculptures from previous years.

Exhibition ‚Cowley Manor Arts Award 2016‘

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Untitled
Royal College of Art; London
2015

500mm x 95mm x 95mm
Burned Wood

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Vis-à-Vis
Jahresausstellung; Munich
2015

The work exists in tandem with it’s surrounding nature. By cooling the metal to approximately -78,48, the air enveloping the pedestal condenses on its surface.

495mm x 700mm x 200mm
Steel, Nickel, Dry Ice
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Untitled
Komödie der Vereinfachungen
Kunstarkaden; Munich
2015

1500cm x 0,15cm x 0,15cm
Cable winch, Steel, Arduino, Bungee Rope

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Untitled
Ich hab noch nie eine Ananas gemalt
NKV Kunstverein; Wiesbaden
2015

390cm x 0,15cm x 0,15cm
Cable Winch, Steel, Arduino
2015
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