Brüggemann, Lena

to go / 2008

Lena Brüggemann & Tibor Müller
5 mobile sculptures

On the appeal of ‘presenting yourself’

The sculpture “to go” is a hybrid of an office chair, an infusion stand and a warning sign. It does not occupy a fixed location and may be moved around by exhibition visitors. A yellow flashing arrow is installed above head height in such a way that it points at the recipients or an artwork in the room. The five sculptures invite visitors to interaction, to a game with attention and prominence. The mere act of ‘lettingyourself-be-portrayed’ with the sculpture, is the ‘most cautious’ way of appropriation and is most often considered in this context.

The exhibition space becomes a stage where the visitors present themselves in public, or are presented respectively, and the artwork becomes an implement. Attention is put in the focus as an economic value at the social event of an opening.

To Go

Dream Park / 2008-09

Dream Park

Dream Park

Dream Park

untitled (available) / 2007

Installation, performance; 2 pedestals, monitor, key pad, 4 speaker

On the monitor you see a person (the artist) and a chat-window. You may write a message to the person, which answers you live with audio and video. The person you watch is only able to see the chat-messages you write. The pedestals are put together to have the situation like two persons would situate themselves in the room for a conversation. The installation/performance interacts with the audience and incorporates it into a structure of attention, attention-keeping, intimacy and voyeurism, surveilance and control.

untitled (available)

untitled (available)

request. / 2005

Lena Brüggemann & Jörn Lund
Series of 5 digi tal prints on canvas / 71 x 57 cm


“Every experience of reality can only be articulated in culturally conveyed images and ways of thinking.” Hans Jürgen Heinrichs “Erzählte Welt”

The work “request.” consists of five canvases showing abstract coloured areas – reminders of the Vera Icon, the ‘true image’ of god. On closer inspection of the images one becomes aware of their pixelated structure. Bits and pieces of words, numbers and symbols which refer back to the image’s digital origin can be made out. The titles that are attached to the wall below the prints point to their sources; they are composed of “web.request”, the search term used, for instance “liberty”, the number of superimposed images and the date of creation.

Naming, browsing, sorting – the digital storage of images leads to a dense connection between word and image. In their work the artists pursue the question in how far this leads to consonances, to collective images, to solidifications into symbols. To achieve this they have developed a computer software which generates average images for search terms. The superimpositions in the generated images result in a sedimentation of excerpts from the digital mass-memory, as brought to the surface by Google search algorithms.



*1981 in Viersen


Wanderer, Kunstverein, Marburg
On (plein) Air, Galerie [doppel de], Dresden
Das Böse ist ein Eichhörnchen, Landgericht, Leipzig

Stolz und Vorurteil, TU Berlin, Berlin
Hiwar Fanni, Unesco-Palace, Beirut, Libanon
Rundgang, HGB Academy of Visual Arts Leipzig
INVASIONEN, Galerie „Walk of Fame“, Hamburg
100% Health, HGB Academy of Visual Arts Leipzig

DING UND UN-DING, Interventionen im öffentlichen Raum, Leipzig
das ende vom anfang, Galerie Kuhturm, Leipzig

the artist-book, Galerie KX, Hamburg
53’09 49’119, Galerie SKAM, Hamburg