Personnage éclatant de rire
inscribed ‚Personnage éclatant de rire‘ (within the composition)
pen and India ink on paper
4 3/8 x 5 5/8 in. (11 x 14.4 cm.)
Executed circa 1929

(…) Weight and size the person guesses. They can neither shoot it, help themselves to its dead body, in order then to measure, weigh, document it, to examine its stomach contents, to dissect its plumage and label the individual parts, to sever its head, remove all fat and muscle, to let it dry and hang it on a wire frame, discussing the piece with colleagues at the society, afterwards leaving it in a drawer; nor could they catch, ring and fit it with a transmitter, and thus by observing on a monitor, track the motions of its migratory circuit from pole to pole, port to port, Shanghai, Rostock, Amsterdam and all the way back to the ice.

The tree in which the bird is sitting is one colour. Trunk, branch, leaf: almost like an ink drawing. From the branch on which the bird is sitting sprout off smaller branches, which themselves branch off into twigs. The tree holds many branches and even more leaves. With the telescope, the person now scans the tree from its roots over the trunk up to its canopy. The person sketches the contours in their notebook. As precise as possible not by hand. Sectioning, labelling, numbering.

The bird in the tree looks back. (…)

from the artist text Person observing a bird in a tree

Views from the exhibition Habitat at Ideal in Leipzig
all framed works from the series Birds and the wall paintings from the series Trees, Brenches, Leaves (after Magritte) 





framed works from the series “birds” (2019) and the wall painting “Inventar Nr. 239” from the series “Trees, Branches, Leaves (after Magritte)”

 




cris d’oiseaux, horizon at Stadium, Berlin (July 2018)

http://www.daily-lazy.com/2018/07/philip-poppek-at-stadium-berlin.html

From the work complex a for apple: the series letters for a post-factual alphabet (65 x 48 cm, UV LED print on archival cardboard, framed, 2017) and the audiopiece letter for a  (15 min,2018)

 

 

 









The sounds reach into the outer cave,
echoing from the walls and forming into words:
We, You, I, Community, No, Yes, Perhaps, Arm, Leg, tomato, tomato.

(…)

A consensus on the course of action is reached,
at least with pain as interpretant.
A break in the endless chain of signifying signs
in practical communication.
And that goes for: foxes, trolls, elves, babies and officials.
For all bodyhavers,
when, after a quickly executed motion,
one foot stops abruptly,
at jeans and periosteum.

(…)

A basis for an understanding within varying
and alteritous character strings,
in the indisputability of our bodies in this split world.
Is the smallest common denominator
the kick in the shins?

(excerpt from letter for a)

I for Index at C.C.C. Projects, Copenhagen (August 2018)

From the work complex a for apple: including wallpaintings from the series letters for a post-factual alphabet (various dimensions, 2017) and photographs from the series I for Index (16 x 24 cm, inkjet print on semigloss paper, 2018)  an excerpt of letter for a was shown

 

 









Part of the group show visible-invisible, Heritage Space, Hanoi (November 2018)

including works from the series Marks: an alphabets supplement (80 x 60 cm, hand-corrected silkscreen with industrial lacquer on wood, 2018) and  the photographic series F for Fruit (incorporating exotic) (12 x 18 cm, inkjet print on matte paper, 2018)

 

 

 



 

View,

For that golden gaze,

I sometimes wish for one eye more.

Wall,

Because with that golden gaze

you can see a room,

where others see a wall.

Door,

I say: Every open room is an illusion.

For there is no room without closure.

Mirror,

I hear you saying:

A mirror is an image.

And I’m standing in its way.

Wind,

Then again: Every closed room is a coffin.

So you have to open it.

Image.

Every image: a cross-eyed view of the world.

 

Text by Dominikus Müller

 

View, Wall, Door, Mirror, Wind at Husslehof, Frankfurt (March 2017)

From the work complex Door, Bird, Wind. UV LED Prints on mixed materials, installation photography part of the work (all 2017)

 

 

 











Dope Show der Zeichen, über verstellte Weichen durch den Wald, bedächtiges Schlendern in großen Herden, diese Tiere waren dem Kaiser gehörig, einbalsamiert, gezähmt, auch in die Liste aufgenommene waren darunter, manche sahen von weitem wie Fliegen aus, fast alle mit feinem Kamelhaarpinsel gezeichnet. Umrisse die gefallen, dürsten, schwirren, verkleben, verschlossene Augen, schreiben des Wachtagebuchs.

excerpt from the artist text prison of FLUFF

FLUFF at the Galerie of the Academy of Visual Arts in Leipzig, (July 2016)

27 photographs from the series FLUFF (2016) in various dimensions, all inkjet print on Hahnemühle matte paper and framed, performance reading of the artist text prison of FLUFF