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Jochen Schmith
Jochen Schmith
Carola Wagenplast (*1975 Stuttgart)
Peter Hoppe (*1971 Cape Town)
Peter Steckroth (*1973 Stuttgart)
Collaboration since the year 2000 under the name “Jochen Schmith”.
All three live and work in Hamburg.
2000-2006 Hochschule für bildende Künste Hamburg with Prof. Eran Schaerf
and Prof. Willem Oorebeek, diploma with distinction.
TEACHING PRACTICE
2011/2012 Hochschule für bildende Künste Hamburg
Professorship
2010 Hochschule für Bildende Künste Braunschweig
workshop on invitation of Prof. John Armleder
ARTIST’S BOOKS AND CATALOGUES
Utopie beginnt im Kleinen (Ausst.-Kat./Exhibition cat.),
12. Triennale Kleinplastik, Hg./ Ed. Verlag der Buchhandlung König, 2013
Hector Förderpreis Kandidaten (Ausst.-Kat./Exhibition cat.),
Kunsthalle Mannheim, Hg./ Ed. Ulrike Lorenz und / and
Thomas Kollhöfer, Mannheim, 2012
Jochen Schmith Certain Arrangements (Ausst.-Kat./Exhibition cat.),
Kunstverein Braunschweig, Hg./ Ed. Kunstverein Braunschweig und
/ and kunstzeitraum München, 2010
reading the city, ev+a 2009 (Ausst.-Kat./Exhibition cat.), ev+a 2009
exhibition of visual art Ireland, Hg./Ed. Paul M. O’Reilly, 2009
Björn Braun, Marieta Chirulescu, Stepanie Kiwitt, Jochen Schmith –
Shortlist blauorange 09, Hg./Ed. Deutsche Volksbanken und
Raiffeisenbanken Berlin, 2009
Jochen Schmith. GELD (Begleitheft zur Ausstellung/booklet accompanying
the exhibition), Kunstverein Harburger Bahnhof, Hg./ Ed. Harburger Bahnhof
Hamburg, 2007
Gespräche mit Jochen Schmith, Heft #6 der Reihe Kombinator, Materialverlag
Hamburg, Hg./ Ed.: Silke Grossmann, Hanne Loreck, Katrin Mayer, Willem
Oorebeek und / and Eran Schaerf, 2006
A.C.A.D.E.M.Y (Ausst.-Kat./Exhibition cat.), Kunstverein in Hamburg,
Museum van Hedendaagse Kunst Antwerpen, Van Abbemuseum Eindhoven
(Hg./Ed. Angelika Nollert, Irit Rogoff, Bart de Baere, Yilmaz Dziewior, Charles Esche,
Kerstin Niemann, Dieter Roelstraete), 2006
AUSSTELLUNGEN (Auswahl) – Exhibitions (selection)
(E) = Einzelausstellung | solo show
(G) = Gruppenausstellung | group show
2014
Present Gifts (E), VI VII Oslo
Artlab (G), Vienna
2013
ikke kompetanse (E), Galerie Esther Donatz, München
Utopie beginnt im Kleinen (G), 12. Triennale Kleinplastik Fellbach, kuratiert von | curated by Angelika Nollert
und Yilmaz Dziewior
2012
Deep Cuts (G), Marres Center for Contemporary Culture, Maastricht, kuratiert von | curated by Lisette Smits
Das kollektive Auge (G), SUBTE, Montevideo Uruguay, kuratiert von | curated by Heinz-Norbert Jocks
Hector-Förderpreis (G), Kunsthalle Mannheim, kuratiert von | curated by Thomas Köllhofer
Andere Räume (G), Bundeskunsthalle Bonn
Bleibender Wert? Kooperation Springerin (G), Kunsthaus Bregenz, kuratiert von | curated by Eva Birkenstock
und Yilmaz Dziewior
2011
Opening Exhibition (G), Galerie Mathew, Berlin
Abwesend [absent] (G), Ausstellungsraum Desaga, Köln, kuratiert von | curated by Frank Hauschildt
DOCUMENT (G), Congrès Brüssel, Belgien | Belgium
It’s only Rock ‘n Roll - but we like it (E), Kunstverein W139, Amsterdam, kuratiert von |curated by Tim Voss
TEXT-WERKE (G), Heidelberger Kunstverein, kuratiert von | curated by Johan Holten
2010
Jochen Schmith (E), kuratiert von | curated by Usch Schöndeling
Summerbreak (G), WCW Galerie, Hamburg
Vorzeichen (raumsichten) (G), Städtische Galerie Nordhorn, kuratiert von | curated by Veronika Olbrich und Dirck Möllmann
Jochen Schmith. Certain Arrangements (E), Kunstverein Braunschweig (Haus Salve Hospes), Braunschweig,
kuratiert von | cur. by Hilke Wagner
2009
Ausstellungsdisplay für PROJEKTRAUM KUNSTHALLE MANNHEIM, in Zusammenarbeit mit |
in cooperation with Mirjam Thomann, Kunsthalle Mannheim, kuratiert von | cur. by Ulrike Lorenz
Ein Traum ist alles Leben und die Träume selbst ein Traum (G), Kunsthalle Lingen, kuratiert von | cur. by Meike Behm
Reading the city (G), OPEN ev+a 2009, Limerick, Ireland, kuratiert von | cur. by Angelika Nollert und | and Yilmaz Dziewior
P is for poodle (E), Golden Pudel Club Hamburg
urgent urban ambulance (G), Deutscher Künstlerbund, Berlin, kuratiert von | cur. by Georg Winter
From a distance (G), Crown Plaza London, Großbritannien | Great Britain
2008
WNEHH (G), Kunstverein Hamburg, kuratiert von | cur. by Yilmaz Dziewior
Auftakt (E), Kunstverein Hamburg, kuratiert von | cur. by Yilmaz Dziewior
Jahresgaben (G), Halle für Kunst Lüneburg, kuratiert von | cur. by Eva Birkenstock und Hannes Loichinger
Manual CC (G), uqbar, Berlin, kuratiert von | cur. by Sebastian Cichocki
Stipendiatenausstellung (G), Kunsthaus Hamburg
Manual CC (G), Centre for Contemporary Art, Warschau, kuratiert von | cur. by Sebastian Cichocki
2007
GELD (E), Kunstverein Harburger Bahnhof Hamburg, kuratiert von | cur. by Tim Voss
Arbeitsgesellschaft ohne Arbeit (G), Römer Kunsthalle Frankfurt
Pudelkollektion (G), Golden Pudel Club, Hamburg
DISPLAY (G), Halle für Kunst Lüneburg, kuratiert von | cur. by Bettina Steinbrügge
Die neue Filmschau (G), Arsenal-Kino, Berlin
2006
STRAY (G), Para/Site Hong Kong, China, kuratiert von | cur. by Yilmaz Dziewior
Academy – learning from art (G), MUHKA Antwerpen, Holland, Siemens Arts Program /
kuratiert von | cur. by Angelika Nollert und | and Dieter Roelstraete
Jochen Schmith (E), Hedah Maastricht, Holland, auf Einladung von | on the invitation of Suchan Kinoshita
Art in the service of lefties (G), Kronika, Bytom, Polen, kuratiert von | cur. by Sebastian Cichoki
Stile der Stadt (G), Forum Altona Hamburg, kuratiert von | cur. by Dirck Möllmann und Filomeno Fusco
Der Garten der Punkte (E), Raum 58 München, auf Einladung von | on the invitation of Tilman Mueller-Stoefen
Diplomausstellung | Diploma exhibition, Hochschule für bildende Künste Hamburg
Breuer- Kerbel - Schmith (G), Galerie Karin Günther / Nina Borgmann Hamburg
2005
met zonder kop (G), ARTIS, Den Bosch Holland, kuratiert von | cur. by Willem Oorebeek und | and Mike Van Schaijk
Gala Night of the Cannibals / in Kooperation mit | in cooperation with Hinrich Sachs (G), BMW XI Baltic Triennal
of International Art Vilnius, Litauen, kuratiert von | cur. by Raimundas Malasauskas
Nur hier? IMBILDSEIN (G), Galerie der HGB Leipzig, kuratiert von | cur. by Jörn Schafaff
Hinterconti zu Gast auf dem Zweiten Berliner Kunstsalon (G), Berlin, kuratiert von | cur. by Tim Voss
POST-DOUBLE-SUPER-HIGH-OPENING (G), Galerie der HfbK Hamburg
Akademie (G), Kunstverein Hamburg, Siemens Arts Program / kuratiert von | cur. by Angelika Nollert und | and
Yilmaz Dziewior
REVIEWS
Maaike Lauwaert, „Present Gifts“, in: Kaleidoscope, 04.2014
Stian Gabrielsen, „Dansen rundt parfymeflakongen“, in: kunstkritikk Sweden, 03.2014
Gürsoy Dogtas, „Jochen Schmith“, in: Kritik, frieze Magazin 02.2014
Kerstin Stakemeier, „Jochen Schmith - ikke kompetanse“, in: Critics’ Picks, Artforum 12.2013
Esperanza Rosales, “Summer in the city”, in: Le Salon, 26.10.2011
Michael Stoeber, “Die Gruppe Jochen Schmith im Kunstverein Langenhagen”, in: Hannoversche Allg. Zeitung, 05.11.2010
Bettina Maria Brosowsky, “Ästhetisches mit Hintersinn”, in: TAZ Nord, 30.10.2010
Christoph Braun, „Drei Tulpen - wertvoll wie ein Haus“, in: Braunschweiger Zeitung, 01.03.2010
Hajo Schiff: “Forschendes Interesse”, in: TAZ, 11.10.2008
Hans-Christian Dany: “Jochen Schmith”, in: Springerin Heft 1/08, Remapping Critique, Januar 2008
Yilmaz Dziewior: "Draußen vor der Tür. Über die Ausstellung Post-Double-Super-High-Opening",
in: Texte zur Kunst, Heft 59, September 2005
Rainer Unruh, "Akademie. Kunst lehren und lernen.", in: Kunstforum Bd. 175, April - Mai 2005
FELLOWSHIPS
2012
HECTOR-Förderpreis, Kunsthalle Mannheim
2011
WIELS residency program, Wiels Zentrum für Zeitgenössische Kunst, Brüssel / Belgien
2009 / 2010
kunstzeitraum, Stipendium der Freunde der Pinakothek München / Südhausbau
shortlist blau-orange, Kunstpreis der Volks- und Raiffeisenbanken
2007
Hamburger Arbeitsstipendium fuer bildende Kunst
Arbeitsstipendium Stiftung Kunstfond
Present Gifts
VI, VII, Oslo, Norwegen
02/2014 - 04/2014
Lazy bones, embroidery on cashmere, 2014, Collectors Waste 2011, The Fraud, 2012
Spinning Objects, 53 Dias, 2014
Chinese Whispers, silk screen, 2010
The starting point for ‘Present Gifts,’ Hamburg based collective Jochen Schmith’s first exhibition at VI, VII, is an audio
piece narrated from advertising descriptions for luxury housing in Hong Kong, and the similarity between these and the
nearby development projects along Oslo’s waterfront, new luxury housing and office buildings dotting the skyline.
Framing the exhibition is the site-specific installation X, (2010/14), which marks the windows by
means of scotch-tape in a manner that references the practice of marking buildings to be demolished.
Fake splatters of paint, the kind that grace ‘painters pants’ by designers such as Ralph Lauren and
Dolce and Gabbana, are embroidered onto cashmere and silk (Lazy bones, 2014) forming a
backdrop to works from several other exhibitions and periods, each of which deal with the
appearance or attributes of institutions, collectors and artists.
Fifty-three slides in the first room list gifts exchanged between politicians, economists and individuals
in foreign states, (Spinning Object, 2014), taken from a register listed on an EU Parliament website.
(…Vase en cristal, tableaux des minéraux, 3 cravates en soie, plaque en aluminium des sphères de
l'Atomium…)
A single bronze cast of a cigar collected from the VIP lounge at an art fair (Cigar Ends – Collectors’
Waste, 2010) join two flasks of a fragrance (The Fraud, 2012) mixed by the Nose that designed
Prince William and Kate Middleton’s wedding scent, according to the average desires of 130
workers from the Bundeskunsthalle Bonn—Germany’s largest art institution.
Press Release VI, VII
ikke kompetanse
Galerie Esther Donatz, Munich
11/2013 - 01/2014
embroidery on Cashmere, Ohne Titel, 2013
„Ohne Titel“ (sNePSA), neon letters, wood, 2013
„Joy“, „Action Star“, „Blizzard“, Cyanotypie on paper (exposed glas panes from gambling machines 2013, „A-Club“, Audioloop, 2006
"Utopie beginnt im Kleinen" (G)
12. Triennale Kleinplastik Fellbach
o6/2013 - 10/2013
The Incredibles 1, Cable, incompatible connector, 2013
The Incredibles 2, Cable, incompatible connector, 2013
The Incredibles 3, Cable, incompatible connector, 2013
The Incredibles 4, Cable, incompatible connector, 2013
The Incredibles 5, Cable, incompatible connector, 2013
The Incredibles 6, Cable, incompatible connector, 2013
The Incredibles 7, Cable, incompatible connector, 2013
Sample
‘Deep Cuts’, Marres Centrum voor Contemporaine Cultuur Maastricht
Group Exhibition 11/2012 - 02/2013
illegally copied trainers and tyres transferred to rubber floor parts, 2012
Illegally copied sneakers are regularly found at custom boarders, which then have to be destroyed and are usually
reworked into new material. Sample is presented as an object of utility - it can be walked upon and functions as a
silencer, underlining the circularity of economic systems.
Snooze
Kunsthalle Mannheim, 07/2012 - 10/2012
‘Hector-Förderpreis’ Exhibition
exhibition views
“Cigar Ends - Collectors’ Waste”, bronze, 2010 (cigar ends collected on art fairs, 8 unique copies, dimensions variable)
reduction of ceiling height from 6 metres to 2,80 metres by
partial lowering of ceiling plates
The Fraud
‘Andere Räume’, Bundeskunsthalle Bonn
Group Exhibition 06/2012 - 09/2012
“The Fraud”, Eau de Parfum created for the Bundeskunsthalle, flacons (bronze), 2012
The fragrance “The Fraud” is created due to the preferences of the Bundeskunsthalle’s employees and for the exhbition ‘different spaces’.
The flacon refers to the cone-shaped atriums of the building’s architecture (designed by Gustav Peichl), which are characteristic for the
Kunsthalle. The flacons are made out of solid bronze and are therefore very heavy and unhandy. The employees are free to wear the fragrance during the exhibition. The objects are presented on a plinth made of empty carrier boxes, which extented over several floors.
News from Nowhere
WCW-Gallery, 11/2010 - 01/2011
Solo Exhibition
spray paint (notes from visitors’ books), 5 chipboards 70*100 cm, letter to the visitor, sunprotection foil on neon lamps
Cigar Ends - Collectors’ Waste
‘Bleibender Wert? Kooperation Springerin’, Kunsthaus Bregenz
Group Exhibition 02/2012 - 04/2012
“Cigar Ends - Collectors’ Waste”, bronze, 2010
cigar ends collected on art fairs, 8 unique copies, dimensions variable
‘Jochen Schmith’
Kunstverein Langenhagen
Solo Exhibition 10/2010 - 12/2010
hole perforation plates, roofing cardboard on floor, wooden beams with exhibition lighting, “Cigar Ends - Collectors’ Waste” (right), light bulbs
“Mütos”, light bulbs embedded into the wall
The exhibition room is newly structured by the use of hanging hole perforation plates. Several works are presented in the originated cabinets. The usually hidden fluorescent lighting is fixed on wooden beams and therefore visible for the visitors.
hole perforation plates, roofing cardboard on floor, wooden beams with exhibition lighting, wallpaper according to a pattern of William Morris,
Audioloop “A-Club”, silkscreen print „Dekoration auf einer Petersburger Millionärsparty“ (DinA0, 2006)
The wallpaper refers to a pattern by William Morris and serves - at the same time - as exhibition poster and (in the exhibition
room) as setting for the Audio-piece “A-Club”.
Certain Arrangements
Kunstverein Braunschweig Haus Salve Hospes
Solo Exhibition 02/2010 - 05/2010
Room 01 (Vestibule)
statues, cashmere-silk fabric from the past collection of an Italian fashion house
Room 04 (Boudoir)
shelf made of green chipboard, white carpet
“Good taste is a cold affair and a filthy one as well”, 4 door-knobs, 2008
The four door-knobs are from a store for exclusive interior fittings. They were fitted on the entrance doors for twenty
years and have varying degrees of patina through long years of use. The title “Good taste is a cold affair and a filthy one
as well” is a quotation of the Japanese aesthetics philosopher Tanizaki Junichiro, who describes the value of patina in the
Japanese culture.
The door-knobs are presented in custom-made boxes. The white carpet will not be cleaned during the exhibition and will
take up the traces of visitors. The Boudoir was reserved for the lady of the house as a place of retreat.
(text on leaflet)
Room 05 (Picture Room)
window film, light projection on former servants’ door, painting
The painting is a copy of ‘Flowers in a
Glass Vase’ by Jan Brueghel d.Ä. (15681625). The painting was commissioned
from an artists’ village in Shenzhen in
China. In the 1980s, the first factory-like
workshops of the Special Economic
Zone arose in which, in a division of
labour, paintings in European Style were
fabricated. Due to strong demand from a
large American retail chain, the artists’ villages soon grew into entire suburbs. The
original painting by Jan Brueghel the
Elder was stolen in Switzerland in 2008
and is classified to the present days as
lost. It is on Interpol’s list of the most
sought-after art works.
(text on leaflet)
copy of a painting by Jan Brueghel d.Ä., oil on canvas
The screen has been covered with an adhesive foil which is usually printed for advertising purposes and mounted on outdoor glass surfaces.
Depending upon the light, it produces various degrees of transparency, but in any case it ostentatiously breaks up the visual lines designed by
the Villa’s architect, Peter Joseph Krahe.
Room 09 (Banqueting Hall), ticket counter and seating ensemble by Heimo Zobernig 1999, bouquet (tulips), bookshelf made of green chipboard, video loop. The ticket office and visitors’ area have been relocated to the banquetting hall for the duration of the exhibition.
The Kunstverein’s publications are also on display.
Room 14 (Breakfast Room, upper storey)
4 mirrored glass plates, carpet, light foil, theater spotlights, lighting control
Room 16 (Guest Room)
Conversation Chair made of green chipboard, Audioloop ‘There was a time’
Room 13 (Hallway), window foil, chandelier from the banqueting hall (installed near the former servants’ stairs).
The original length of the chandelier’s suspension-chain is being maintained. The stairs are open to visitors during
the exhibition and lead back to the ground floor.
VORZEICHEN/raumsichten
Städtische Galerie Nordhorn
Group Exhibition 04/2010 - 05/2010
32 wooden panels, dispersion paint, 16 ceiling lamps from administrative buildings in Nordhorn and surrounding areas
The exhibition VORZEICHEN assembles 16 proposals from artists for the sculpture project ‘raumsichten’. The proposals base upon
two working forums, where selected artists are in dialogue with representatives from the administration about the future design of
the area near the river Vechte. The setting created by the collective Jochen Schmith consists of loose cabinets, which offer space for
the 16 drafts. The drafts are illuminated by the lamps from the responsible administration offices, which were chosen ahead the exhibition by Jochen Schmith. press release Städtische Galerie Nordhorn
The right to be lazy
‘Reading the city’, exhibition of visual art Limerick, Irland
Group Exhibition 03/2009 - 05/2009
Setting for a film by Peter Watkins
Wir nennen es Hamburg, Kunstverein Hamburg
Group Exhibition 10/2008 - 01/2009
wall breakthrough, 4 mirrored glass plates, 2 theater spotlights, white carpet, “Privilege” by Peter Watkins
The installation “Setting for a film by Peter Watkins (Privilege)” is structured by a wall breakthrough and four mirrored glass plates
which hang from the ceiling. The exhibition room functions as an entrance and passage to a room normally used for technical equipment. The access to this room is provided through the removal of a wall panel from the exhibition architecture. In this backstage
room, the film “Privilege” by Peter Watkins is being displayed. Spotlights used in theaters are installed behind and infront of the glass
plates. The brightness of the spots is regulated by the sound track of the film. It changes the visibility in the exhibition room.
“Privilege”, a documentary feature film, was produced in 1966 and not released before the year 2008. In his films Peter Watkins raises questions related to modes of documentation and staging in order to examine authoritarian and hierarchical relations between
audience and mass media. He often works with amateur actors who place their personal background knowledge and dialogues in the
film. In general Peter Watkins´ films are rarely shown in public and difficult to find. The installation provides a temporary screening
option for the film and therefore a possibility to appear in public.
Reihe Ordnung sagt: GELD
Kunstverein Harburg
Solo Exhibition 11/2007 - 01/2008
sequined cloth (height adjustable suspension), rubber floor (illegally copied trainers and tyres), two copies of the painting “allegory of
earth” from J. Breughel d. Ä., glass object (mirrored shatterproof glass)
genug wenig Licht
‘met zonder kop’, ARTIS Den Bosch (Holland)
Group Exhibition 12/2005 - 01/2006
installation with 35 existing light fixtures
exhibition views, ARTIS, Den Bosch (Holland)
The lights of the exhibition space are turned around 180 ° towards the ceiling. The indirect light generates an upper light
situation which simulates a condition of daylight. The ceiling appears slightly transparent.
Ohne Titel (Auftakt)
Kunstverein Hamburg
Solo Exhibition 07/2008 - 09/2008
3 metal halide lamps, motion detector, white carpet, wall painting, entrance area with glass door
3 metal halide lamps, motion detector, white carpet, wall painting
illumination process of the metal hallide lamps
The visitor who approaches the glass door triggers a motion detector which turns on three metal halide lamps. To be fully illuminated
the lamps need a period of four minutes in which the light changes its colour several times. In the moment the lamps have reached their
maximum light power, they immediately turn off and the room becomes dark again. Three colours are extracted from this ephemeral
process of glowing. They provide the basis for the colouring of the walls.
The space provides a setting for several performances and showings. During these performances the visitor can enter the room - the
colours on the walls then represent a static state of the light choreography. The metal halide lamps are turned off and the common neon
lightning is used.
Projektraum ‘Kunsthalle Mannheim’
exhibition display in cooperation with Mirjam Thomann
Solo Exhibition 09/2009 - 11/2009
The 6 spotlights mark the former windows. The space was originally planned to exhibit sculptures. The tape with the imprint “Kunsthalle
Mannheim” expands, like a wallpaper, through several rooms of the exhibition.
historic film, photographs of exhibition views from 1906, tape with imprint “Kunsthalle Mannheim”
archive material in storage facility, objects and models on carrier boxes, podium with video projection, mirrored wall
The mirrored wall marks a former passage which has been obstructed within the years.
Wir können auch anders
exhibition of the fellowship ‘Arbeitsstipendium Hamburg’, Kunsthaus Hamburg
Group Exhibition 01/2008 - 03/2008
Modulator
‘Akademie’, Kunstverein Hamburg and Siemens Arts Program
Group Exhibition 01/2005 - 04/2005
hanging construciton (aluminium, styrofoam,roller shutter band) with three
projection screens