Some years ago, after graduating from the Academy of Art Berlin (today ‚UdK Berlin‘), I had the opportunity to teach first year art students at this same academy as a guest lecturer. The quality of discourse with those students, developed and pushed over time, was characterised by an intensity and intellectual hunger and rigour, which, in my experience, is close to non-existent within the contemporary art world. In this situation I also discovered that my love and passion for art -which I had believed to be singular and unparalleled- was in fact equalled by my love for teaching. I am thus very excited about the launch and potential of the ArtistUndergroundAcademy.

As a self-declared ‚artist underground‘, fiercely suspicious and critical of the mechanisms of the contemporary art world / art market, and thus working strictly outside of it, this self-imposed isolation has guaranteed my freedom, yet has also produced its own powerful limitations and challenges.

The context which the contemporary art world provides neither meets with the requirements of my own work, nor does it provide a context for the kind of discourse about the situation of art on the whole which I believe is urgently needed.

I see the existential need to invent and produce the context that is missing.

​Artistunderground is driven by the Utopia that this seed-like movement has the potential to initiate real change and can impact on the situation on the whole. At the same time our outlook is focussed on the small scale – even to only find a small handful of people to work with in order to push and develop our questions regarding art in the 21st century in a radical manner I would regard as a huge achievement.



On the art front I got some really good responses but reaching beyond your friends to curators is really a struggle. This is a symptom of the problem; people who understand the work are not the curators who are the gatekeepers.

We are trying to make our way in which the commodity artists have sucked all the air out of the room. Four or five years back I was talking to David Antin, Eleanor Antin’s husband, and saying: „David there is this thing – the million dollar sale. Once an artist arranges to make that happen by any means they are in Valhalla. It is a group of artists who can claim commodity status and their access to exhibits is pretty well guaranteed.“ David had advanced Parkinson’s disease at this point so his reply was slow, almost theorem like: „To the extent to which the artist accepts the attainment of that benchmark as significant when it is attained any other meaning that might exist in the work is erased.“

So here are in the only world where meaning exists. Underfunded and overly significant (said somewhat ironically).

This situation and a sense of puzzlement of how to deal with it is felt by friends people I speak to who are curators, teachers even art dealers who see Gagosian et al as setting the financial bar out of reach. Smaller to middle sized galleries who are not funded by PACE or some other hedge fund sized and capitalized gallery, are closing. Not able to compete with galleries who’s main claim it fame is the smell of money and buildings that rival the construction quality of the homes of Billionaires.

How do we have a conversation in our present? As artist – about culture. Let us leave social media out of the picture – just because it has become the kind of assumed route to reach people yet has the hugely problematic side.  I am sure at some point it comes into play but.

The core is about art making not its distribution system.

It has seemed to me that looking back on the art of the last fifty years (perhaps the whole 20-21st century) there has been the component of the artist’s charming and exaggerated claims for the social effects of their work. The Italian Futurists claiming a new world of speed and bullets are an early example.  Their claim was to see that everything else but that which they defined as outmoded.  Its late, I could go on – but to get to the present…

I see now that for better or for worse most of those claims today are not believed. When people do make claims I doubt them like I doubt the claims of a store bought cereal to make you healthy.  That said I think art is serious- that within the set of interactions offered between viewer and art work/event there are serious things that can transpire.





Since Joseph Beuys declared that „Everyone is an artist“ in the 1960s, the call for the ‚democratisation‘ of art has become one of the most powerful forces in the realm of culture and has since dominated, shaped and controlled art to an unparalleled degree. Yet the fact that this phrase’s vast success does not lie in being a powerful concept for art itself, but instead has -inadvertently- become one of the most successful advertising slogans of all time, perverting Beuys‘ original utopian intent into its very antithesis, is a truth that remains strangely hidden in plain sight. Weiterlesen


It is my firm belief that we are about to reach a point where art has to be reconsidered. Art as a whole, rather than its particular aspects, facets, functions, determinants, uses or criteria. Not art institutions and forms of exhibition, mechanisms for promotion, selection or museal inclusion. The time has come to redefine art; to ask whether art is still possible nowadays. Or are we to make do with substitutes and simulacra? Might it be that performative marketing and aesthetically refined advertisements suffice? Only internal fluctuations of the art world? Weiterlesen


In jüngster Zeit ist das künstlerische Schaffen in eine Phase der Banalisierung getreten, die in erster Linie auf Marktmechanismen, auf den Erfolgsdruck des Künstlers und auf seinen Narzissmus zurückzuführen ist. Kurz gesagt, der tiefere Sinn des Kunstschaffens scheint ganz allgemein verloren gegangen zu sein. Wir sollten uns deshalb in Erinnerung rufen, was unter dem, was wir „Kunst“ nennen, eigentlich zu verstehen ist. Weiterlesen