Stephan Moersch - adamski gallery

Stephan Moersch
Installation view, “Wer immer strebend sich bemüht, den können wir erlösen”, 2004, Adamski / Aachen, Germany
Installation view, “Tauchfahrten”, 2004, TAUCHFAHRTEN, Kunstverein Hannover, Germany Kunstverein Hannover, Germany
2004 - 2010
The beach at Calais in northern France with its numerous bunkers was deemed the Atlantic Wall designed
to protect the area from British invasion. Following the war, the bunkers sometimes served as platforms
for simple wooden beach huts. The group of small white and blue huts epitomises the recurring culture
of entertainment at these places in times of peace. Despite their simple structure, the wooden buildings
feature some ingenious architectural details. Apart from their bright colours, in particular the pitched roofs
and the windows with their original shapes make the small huts seem surprisingly modern. Positioned
on wooden steles which become increasingly exposed as the sand is eroded, the huts often have to be
accessed by outdoor steps. In the recent past, these huts have occasionally been used as hiding places for
refugees on their way to England – as a result of which some of them were burned down. Moreover, a few
years ago further repairs to the beach huts were officially prohibited, prompting them to disappear from
memory.
Installation view, “Landnahme”, 2010, Marta Herford, Herford, Germany
“Beach Bar, English Channel / Northern France”, 2004
Styrofoam, putty, wood, acrylic paint, 70 x 190 x 130 cm
“Beach Houses, Blériot Plage, Calais”, 2010
Wood, acrylic paint, app. 100 x 30 x 80 cm (each)
2007
“Otopark”
The project is based on the situation concerning car parks in Turkey. Car park operators entangled in
Mafia-like structures aggressively occupy both public and private areas to expand their economic interests.
As a result, more parking space is created at the cost of personal outdoor space. Sometimes reinforced huts
made out of corrugated iron or concrete develop which are parasitically annexed to existing structures and
have become a recurring feature of the urban environment.
“Otopark”, 2007
Wood, glass, metal, neon, elecric components, variable dimensions
“Otopark”, 2007
Wood, glass, metal, electric components, 34 x 45 x 53 cm
2003 - 2007
Huertgenwald
The hides come from Hürtgen Forest near Aachen, the artist’s hometown. The models demonstrate the
different ways in which these raised hides are built. Even if certain shared structural features can be
made out, the details of the platform and the different interior furnishings testify to individual subtleties.
The same forest also used to contain one-man bunkers. These curious buildings were used in World War
II to protect one or two people during air raids. Now almost completely disappeared, a few have been
preserved as listed buildings.
Installation view, “Imaging the Distance”, 2007, Ludwig Forum Aachen, Germany
Installation view, “Imaging the Distance”, 2007, Ludwig Forum Aachen, Germany
Hürtgenwald, 2007
Graphite on paper, 21 x 29,7 cm (Detail)
“Hürtgenwald”, 2003 - 2007
Detail
“Hürtgenwald”, 2003 - 2007
Installation view, “Landnahme”, 2010, Marta Herford, Herford, Germany
Installation view, “Landnahme”, 2010, Marta Herford, Herford, Germany
2008
Quedlinburg
Allotments in Germany date back to the nineteenth century. They were used not only for recreation by
the urban population but also as a source of fruit and vegetables in times of shortages. Mörsch’s models
of allotment buildings based on examples from Quedlinburg in the region of Saxony-Anhalt in eastern
Germany continued to grow organically over the years. Whereas the basic structures consist of the simple,
solid materials available before German reunification, the later structures can be seen to be typical products sold ‘off the shelf’ at DIY stores. In stark contrast to the highly structured organisation of allotment
gardeners in associations, these proliferating buildings reflect a clear need by owners to shape their own
private space and to mark out their territory. Stephan Mörsch focuses attention on his model-making activities with his decorative wells of the type found in German front gardens. These non-functional garden
decorations based on historical castle wells reveal the romantic yearning of homeowners. The widespread
need to create a second idyllic world in miniature is ironically undermined by the decision to hang them in
rows.
“Quedlinburg”, 2008
Wood, tarpaper, glass, plastic, metal, 32 x 61 x 77 cm Germany
2009
“The House In The Middle”
Beginning in 1950, numerous experiments investigate the impact of an atomic bomb attack on civilians
and their surround- ings. In this period it is primarily US strategists who are convinced that the survivability of American society can be signifi- cantly increased through simple, practical measures. The Federal
Civil Defense Administration thus initiates the National Clean Up - Paint Up - Fix Up Bureau, which promotes the careful maintenance of private homes and apartments. It encour- ages the formation of citizen
committees and hosts competitions throughout the country with a prize for the cleanest community. Debris
and dead leaves, which could ignite from the heat of the bomb, should be removed from courtyards and
gardens. In apartments scattered clothing and old newspapers pose a danger, particularly when close to
windows. The typical white paint of exteriors assumes strategic significance: It reflects the heat and lowers the risk of fire. These measures ought to be carried out regularly in a time of peace in order to always
keep one prepared for a surprise atomic attack. Home improvement and handy-man qualities are important
strategies in a perpetual apocalyptic state of affairs.
In 1954 a business group, the National Paint, Varnish and Lacquer Association, produces the 12-minute
educational film The House in the Middle. Three identical wooden frame structures have been set up in
the Nevada desert, and they bring together all the typical elements of American residential housing on a
minute plot of land: the gable roof, windows, door, porch, portico, stairs and garden fence. The house on
the right is run-down. Debris is piled up next to the fence, and laundry is hanging on the clothesline. The
house on the left is tidy, only the exterior paint is shabby. The house in the center is in perfect condition.
All three are then exposed to the energy of an atomic bomb. The house on the right catches fire right away
and burns down within a few minutes. The house on the left at first seems to withstand the blast but then
also burns down. Only the house in the middle is spared from the flames.
“The House in the Middle”, 2009, Installation view, Adamski / Berlin
“The House in the Middle”, 2009, Installation view, Adamski / Berlin
2009 / 2010
Two models of mosques based on the structures used in American army camps where soldiers are trained
for missions in Iraq or Afghanistan.
The buildings are immediately recognisable from afar as mosques thanks to pronounced details such as
the crescent moon, minaret and dome. Yet on closer inspection, the buildings merely turn out to be stereotypical mock-ups. For example, the minaret has been built out of oil drums for training exercises while
the simple wooden structures somewhere between an American suburban house and Disneyworld merge
curiously with Oriental architecture.
Ausbildungsmoschee Fort Bragg, USA, 2009
Wood, metal, acrylic paint, 80 x 72 x 56 cm
Ausbildungsmoschee Fort Irwin, USA, 2010
Wood, acrylic paint, 60 x 61 x 74 cm
2013
When the Israeli settlers gave up Gaza in 2005 they left quantities of leverage used for greenhouses. The
Palestinians used the leverage in combination with plastic sheeting for repairs at their buildings but also
to camouflage the numerous tunnels which have been built since the blockade especially in Rafah at the
border to Egypt. Those tunnels are used to carry goods, people and weapons into Gaza. The distinction
between simple building extensions and camouflaged tunnels is very difficult which is one reason why the
Israeli bombardments so often destroy the housings in Gaza. The conformity of the buildings protects the
parallel existing illegal transport routes.
Gaza Tunnel, 2013
Wood, acrylic paint, metal, plastic, concrete, 121 x 122 x 84 cm
Gaza Tunnel, 2013
Wood, acrylic paint, metal, plastic, concrete, 121 x 122 x 84 cm
2013 - ongoing
The Jungle
Calais is currently home to around 1,000 migrants, mostly looking to enter the UK avoiding the strict immigration controls at the port. Since 2011 the numbers of people attempting to enter the UK illegally from
Calais increased year-on-year, the UK government reported in 2014.
Some 700–800 migrants, mostly Afghan, were camped in an area among the dunes near the port, locally
called ‘The Jungle’, but this was destroyed by French authorities in a dawn raid on 22 September 2009.
The inhabitants were partly imprisoned at the nearby Centre de Rétention of Coquelles, but many more
were taken to detention centres all over France before being released and making the long journey back to
Calais by foot. After the closing of the camp, the French authorities have threatened to repatriate “sanspapiers” to Afghanistan
“Jungle”, 2013 - ongoing
Mixed media, variable dimensions, detail (Mosque)
“Jungle”, 2013 - ongoing
Mixed media, variable dimensions, detail
“Jungle”, 2013 - ongoing
Mixed media, variable dimensions, detail
“Jungle”, 2013 - ongoing
Mixed media, variable dimensions, detail
“Jungle”, 2013 - ongoing
Mixed media, variable dimensions, installation view, “Was Modelle Koennen”, Museum fuer Gegenwartskunst, Siegen, Germany
2013 - 2015
The Gaza Surf Club was founded in 2008 by Explore Corps to serve as an Educational and
Community Development resource for Palestinian Surfers In the Gaza Strip. Explore Corps
works hand in hand with the surfers to create custom tailored Educational programming and
opportunities with an emphasis on local resource development, training and international outreach.
“Gaza Surf Club”, 2013
Wood, fabric, plastic, acrylic paint, app. 140 x 60 x 45 cm
Stephan Mörsch (*1974)
Education /
1994-96 History of Art / German Literature / Comparative religious studies, University Bonn
1996-98 Akademie Beeldende Kunsten - Maastricht
1998-04 HfbK-Hamburg with Bogomir Ecker / Alexander Roob / Gunnar Reski. Degree with Pia Stadt
bäumer
2007
“Imaging the Distance”, Arlington Arts Centers, USA / Ludwig Forum Aachen, Germany
“Architektur-Kunst?”, Galerie Reckermann, Cologne, Germany
2006
“Site Samples # 1 & 2”, Galerie für Landschaftskunst, Hamburg, Germany
“Rattus Norvegicus, Sammlung Dahlmann”, Leopold- Hoesch-Museum Düren, Germany
“moving home(s)”, Galerie Sfeir-Semler, Beirut, Lebanon
2005
“Modellräume”, Städtische Galerie Nordhorn, Germany (Catalogue)
“Tegn”, Martin Asbaek Projects, Kopenhagen, Denmark
“TAUCHFAHRTEN”, Kunsthalle Düsseldorf, Germany (Catalogue)
2004
“Sammlung Taubenstrasse”, Kunsthaus Hamburg, Germany
“Wer immer strebend sich bemüht, den können wir erlösen”. Adamski / Aachen, Germany
“TAUCHFAHRTEN”, Kunstverein Hannover, Germany
“Kunstlicht Kongress”, Kunstraum Walcheturm, Zürich, Switzerland
“Kunst in der Börse”, Hamburg, Germany
Solo Shows /
2015
“One Minute”, Adamski / Berlin
2010
“Landnahme”, Marta Herford, Herford, Germany
“The House in the Middle”, Nassauischer Kunstverein, Wiesbaden, Germany (Catalogue)
2009
“The House in the Middle”, Adamski / Berlin
2008
Galerie Adamski, Aachen, Germany
“Quedlinburg”, Lyonel-Feininger-Galerie, Quedlinburg, Germany (Catalogue)
2007
“Otopark”, Galerie Sfeir-Semler, Hamburg, Germany
2005
New Talents, Art Cologne, Galerie Sfeir-Semler, Cologne, Germany
Galerie Sfeir-Semler, Hamburg, Germany
Group Shows (Selection) /
2015
“LeSouffleur”,SchürmanntrifftLudwig,Ludwig Forum Aachen, Germany
2014
“Was Modelle Koennen”, Museum fuer Gegenwartskunst, Siegen, Germany (Catalogue)
2013
“Macht.Wahn.Vision”, Kunsthalle Vogelmann, Heilbronn, Germany (Catalogue)
“Heimsuchung”, Kunstmuseum Bonn, Germany (Catalogue)
“Sixpack” with Daniel Burkhardt, Kunsthaus Stade, Germany (Catalogue)
2011
“MaerklinWorld”, Kunsthalle KAdE, Amersfoort, Netherlands
2010
“Ayran und Yoga”, 1st Berlin Kreuzberg Biennial, Berlin, Germany
“The Cassini Cruise II”, Maastricht
2009
“Defending our Values”, CCA, Andratx, Spain
Galerie Sfeir-Semler, Hamburg, Germany
“Narcotica”, The Forgotten Bar Project, Basel, Switzerland
“CENTRAL NERVOUS SYSTEM II”, Galerie im Regierungsviertel, Berlin, Germany
“YES WE CAN”, Galerie Adamski, Berlin, Germany
2008
The Forgotten Bar Project, Studio Lucca Maffey, Milan, Italy
Awards and Grants /
Studio Grant Capital Culture Fund, Berlin, Germany, 2010
Artfund-Foundation Germany, 2009
Project Grant from the country of Sachsen-Anhalt, Germany 2008
Travelling Grant Transfer Türkei – NRW, 2006/07
Studio Grant for Arts of the City of Hamburg, Germany, 2006
New Talents, Art Cologne, Cologne, Germany, 2005