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collaborative work with Margaux Weiss Burdock, framed in oak wood, 2022 frame: oak wood with museum glass In our artistic work we negotiate processes of the so-called 'third nature' (Anna Lowenhaupt Tsing: Der Pilz am Ende der Welt. Matthes und Seitz Verlag) and proceed phenomenologically. For the time being, we are not interested in the distinction between nature and man, nor in the symbiosis between the two. We try to look at the concrete boundaries, which are visually and haptically present in our living world and often the intersections of humans, nature, and capitalist processes. The structures of proliferation in the city are forest, lichen, shore, mountain or cloud. They form a mélange, a hiding place, a castle, a reservoir, science fiction in a form that is equal parts utopian and dystopian. They point to the limits of our cultivation of roses and equally form a solution to our need of city. The great thing is that our plants don't conform ... they have thorns, spines and barbs. They burn, they scratch, they fight back, they belong locked up because they can clone themselves. They are outlawed, they are illegal they are fought with flamethrowers, they have started political wars and they are the harbingers of climate refugees. They form places that exclude humans and yet they can also be a beacon of hope for the future....
Felix Maximilian Benjamin Privatus, Jung (*1985 he/him) is a visual artist. In his interdisciplinary works, the themes of the public sphere and space are always present. On a contextual, installative level, he engages with various social processes and contemporary formative aspects in his environment. Social practice and associated collaborations are an essential part of his artistic practice. His site-specific works find space in galleries, theaters and museums worldwide.
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