Works

Collaborative works

---

Infinite Village, 2020 in collaboration with Cora von Zezschwitz, Manifesta 13/Paralleles du Sud, Marseille&Nice

IINFINTE VILLAGE
MANIFESTA 13/PARALLELES DU SUD
Espace Jouenne (Marseille), Le 109 (Nice), Windsor Hotel (Nice)
2020
The project was presented by The((He)artfor(He)artprogram, Nice, Artistic director Francesca Viudes, curators: Cora von Zezzschwitz, Francesca Viudes & Tilman

With Cora von Zezschwitz

The premises of the INFINITE VILLAGE were established in 2016 by artists Cora von Zezschwitz & Tilman as an abstract architectural sketch that manifests dwellings of subjective multiplicity, grouping together around a common space of sharing.
INFINITE VILLAGE, echoing the perimeters of a village, forms around a central Agora where the various participants of the Village are invited to share their knowledges through performances, music, workshops, conferences and round tables. INFINITE VILLAGE is a place of co-creation and participatory actions, in which the public becomes a participant of the various discourses.
INFINITE VILLAGE welcomes around forty participants from all over the world: artists, curators, architects, composers, performers, filmmakers, philosophers, creators, activists, will gather together to address subjects from the Anthropocene to a possible constructive transformation of todays urgent issues regarding humanity and it`s sustainability.
The workshops, round tables, participatory performances, shared meals, will provoke a sense of community to stimulate our perception and establish an "upgrade" of our thinking process and actions. The social sculpture: INFINTE VILLAGE aspires to promote the idea of creating a community, to discuss various points of view of the present time and of our future in the making. This "social sculpture" aspires to introduce the idea of the village as a vivid microcosm, which evokes the ideas of an engaged, inclusive rather than exclusive society. The public is invited to participate physically and mentally to engage in talks and activities, to be the change and to convey the propagation of this social sculpture. The ambition is to encourage an expanding creative archipelago of sharing.
INFINITE VILLAGE works like a diagram. A diagram is a simplified and structured representation of concepts, ideas, constructions, relationships and different aspects of human activity. A diagram makes it possible to describe a phenomenon, to highlight correlations between certain factors or to represent parts of a whole. It traces a dynamic journey, an evolution, the continuous variations of the same phenomena and a multitude of points of view. INFINITE VILLAGE is an invitation to embark on a journey, an indefinite journey.
What is not determined has no limits, what has no limits, can be turned into the possible.
How do you imagine your future village?

for further information please go to www.infinitevillage.org

---

Infinite Village/nomadic structures, 2019 in collaboration with Cora Von Zezschwitz, CCA Iffitry/Essaouira (MAR)

---

Infinite Village / Interspace, 2019, in collaboration with Cira von Zezschwitz, M-17 Art Center, Kiev (UA)

INFINITE VILLAGE / INTERSPACE
M-17 Art Center, Kiev (UA), 2019
With Cora von Zezschwitz

INFINITE VILLAGE – INTERSPACE, specially conceived for M-17 art center, proposes a spatial intervention rather than a full-blown installation. In this case the title relates to the given location as well as to the idea of creating an in-between space, a space of passage physically and mentally.
Using poor materials- wood, fabrics and foils – these materials also are part of thenarrative`, creating juxtaposing meaningful annotations rather than just serving a formalistic approach.

---

Infinite Village / Re-Adapting, 2019, in collaboration with Cora von Zezschwitz, Parcours de Sillon, Saou (FR)

INFINITE VILLAGE / RE-ADAPTING
Saôu (FR)
Parcours de Sillon
2019
With Cora von Zezschwitz

Re-Adapting, is a architectural platform/structure rather than an interactive social sculpture. This consciously constructed structure , sitting lone in the landscape, functions as a reminder of inhabitation or a reconstruction of some sort of inhabitation. In its rather purist, geometric appearance this structure almost wants to sayback to the basics`and is implementing the importance of a broadened dialogue about sustaining an ecological, social and political equilibrium, concerning our lives in the here and now as well as in the future.
On a more formal level this structure draws attention to the concept of structural transformation, flexiibility and confluence as well as the idea of architecture of additions. Yet this structure can also be interpreted as an understanding of spatiality as a material or as a transmitter of thought.

---

Infinite Village / InsideOutside, 2019 in collaboration with Cora Von Zezschwitz, A.Farm, Ho Chi Minh City (VIE)

INFINITE VILLAGE / INSIDEOUSIDE
A.FARM, Ho Chi Minh City (Vietnam), 2019
With Cora von Zezschwitz

INSIDEOUTSIDE is a site-specific intervention constructed for the open studio presentation at A. Farm in Ho Chi Minh City. After two weeks of experimenting on a daily base at the allocated studio, an on-site project - in this case addressing the idea of the entrance/threshold, what is important to local architecture – was created.
The work reflects upon the idea of the threshold, a locus, where the outside meets the inside and vice versa, where the exchange of the objective and the subjective can take place as well as a location which conveys respect and privacy.

---

Infinite Village /Raw:Abandonement, 2018 in collaboration with Cira von Zezschwitz, 21st Biennale Grenchen (SUI)

Infinite Village / Raw:Abandonment in collaboration with Cora Von Zezschwitz
21st Biennale Grenchen, (SUI), curated and organised by Reto Emch

Point of departure of the site-specific project RAW/Abandonment, presented at the 21st Triennale Grenchen was a room on its bare state, provided for this project on the premises of the Grenchen exhibition space, an abandoned printing facility.
The abandonedspace, which still showed traces of its former occupation and prior use (a print shop) is r-inhabited bybtheartists with a simple yet intriguing structure built out of new and recycled materials (wood, plastic foils, mirror foil, paper, paint).
These interferences with given topos are changing our level of perception regarding the existing space. The space is revived in such manner that bit creates a new mental and visual context as well as it is respecting the prior personalityand reminiscing its prior liveliness.
This temporary installation aims to connect the erstwhile with the now, implying the plentitude of possibilities for restructuring.The artistic intervention shall to be read as a pure àestheticalone, but also as a place for reflection upon the manifold of aspects concerning the conditions of our lives. The artistic intervention points beyond the mere visual appearance of he artistic creation towards the various levels and possibilities of perception and aims to challenge the viewer to extend his perceptual experience and to immerse into a world of thought. This re-interpretation or re-inhabitation of the encountered space understands itself as anopen`structure, as a conscious as well as playful construction of spatiality within given topos. The accumulation of the diverse visual layers wants to initiate reflection upon the multi)faceted interdependency of human existence and his natural or conditioned environment.
Within this spacial intervention, carefully integrated imprinted folsand other materials comment on the prior use of these facilites and interconnect thesauri of abandonment with the newly created ambiance;

---

Infinite Village / Cabin in the sky, 2018, in collaboration with Cora Von Zezschwitz,Eglise de Celestines, Parcours d`Art Avignon (FR)

INFINITE VILLAGE / Cabin in the Sky
Èglise des Célestines, Avignon (FR)
Parcours dart, 2018 With Cora von Zezschwitz The tower-like structure is specially tailored to reflect the given architectural features of the abandoned church. The generous spatial quality of the nave inspired the idea of verticality and to expand the modules into the air, topped by acabin in the sky. The upward streaming structure instigates the idea of reflection and reconsideration what becomes foundational in the realization of theimpossibleand is addressing the constant adoption of the flow of events. Thecabin in the sky` suggests a place of tranquility and reflection, a place where observations can be digested as well as thoughts and impressions can freely float.

---

Infinite Village - lo spazio e blu e gli uccelli attraversano on volo, 2018, in collaboration with Cora Von Zezschwitz, Campo dei Gesuiti, Venice (IT)

INFINTE VILLAGE
LO SPAZIO E BLU E GLI UCCELLI ATTRAVERSANO IN VOLO
CAMPO DEI GESUITI, VENICE (IT)
2018

This project entitled LO SPAZIO E BLU E GLI UCCELI ATTRAVERSANO IN VOLO is a continuation of the collaborative project DE_SPACED initiated by artists Cora von Zezschwitz (CN/FR) and Tilman (D/FR/IT). Previously realized projects include DE_SPACED, N.O.S., Tulette (FR) and RESTRUCTURING, IUVA, Convento St.Teresa, Venice (IT).
The collaborative project INFINITE VILLAGE`` focuses primarily on the perception of  space and spatiality, its importance in our daily life, and space as a vehicle of thought and experience as well as a corporeal matter. The project aims to instigate a  visual and mental dialogue about the involvement of the human being in this topological dimension and its daily currents of events and to investigate space as a medium in our life.The project integrates ideas about space (mathematical as well as experiential space), our behaviour and understanding - personal and public - of the rammifications of space in and off our temporary lives. The project speaks of intimacy and openess, of political and privat engagement and aims to challenge ones perception of  space and to reevaluate ones apprehension and position within given topos.
In common linguistic use we mostly tend to refer to the term space as a mathematical or hollowspace rather then an experienced space. We inhabit this mathematical space – we dwell in it, we work in it, we are dominated by this Euclidian structure and it forms the center of our life, may it be a house or an apartment, an office or an industrial space.This mathematical space, which is to a certain degree shaping our perception, is like a skin which can bareley be permeated, which reflects on our behaviour and our relationship to ourselves, other persons or objects of any kind surrounding us and events happening beyond our personal sphere. The human being is always and often necessarily conditioned in his life by his behaviour in relation to a surrounding space and we cannot escape the fact of enclosure and structure - not even via architectural features enhancing the idea of a peripheral vision or retreating into nature – and seldom experience a space without barriers factual or mentally.Experienced space on the contrary is by nature unstructured, and in this way extends in all directions into infinity, even when first given as a closed space lacking any form of socially functional activity.
Yet the experienced space is deeply manifested in human life. Experienced space is related to the human being by a vital relationship with subjective and objective life in it and with it, and forms an essential medium of human life and expression.
The project entitled LO SPAZIO E BLU E GLI UCCELI ATTRAVERSANO IN VOLO is conceived primarily for an interior space but also can be easily adapted to any exterior situation. Based on a modular structure (3mx3mx3m) it is in its realisation variable and infinte, expanding in all dimensions with ideally no restrictions of any nature. The single modular structure in its apparent form describes a spatial situation rather then manifesting itself as volume., presenting itself as a notion rather then an object.Thoughtful interventions with fabrics and other materials suggest the idea of inhabitation and social activity to underscore the extricable interdependence of work of art, architecture, perception of space per se and intimacy , openess, reflection and dialogue on the other hand.
The entire work itself, is visually and mentally understood as an open structure - as a conscious yet playful construction of spatialities and its various layers and realities. - and functions as a mere work of art, a sculptural or architectural intervention as well as as a topos, a place of departure for the investigation of spatial perception and also a vessel to inspire thoughts beyond the formal restrictions set up by a conditioned perception. The work aims to provoke contemplation and thougth about our personal standing within a consumerist society worshipping greed and self-indulgence, taking in consideration the alarming developments and unsettling events dictated by our times and partially our own apathy and helplessness in dealing with the timely currents.
Both in intellectual and practical terms the given conscious structure is, amongst other intellectual influences, related to the concept of bricoleur, a term coined by Claude-Levi Strauss as the antipode to the ingenieur or the idea of the HOJOKI and the HOJO as the archetype of Japanese architecture , designed to be a space of contemplation and meditation, of modesty and simplicity , where the exterior becomes the interior and vice versa, a space functioning as refuge and a place to reflect upon a manifold of aspects of social, intimate or political nature.

---

Re-Structuring, 2017 in collaboration with Cora Von Zezschwitz @ IUVA, Venice (IT)

INFINITE VILLAGE / RE-STRUCTURING
A performative architectural intervention
A collaborative project by Cora von Zezschwitz & Tilman
Universitat luav di Venezia Convent S Terese, Venice Conference & site-specific installation Organized by Prof Renato Bocchi 23/10/2017

The project INFINITE VILLAGE is a collaborative work and creative dialogue between artists TILMAN (D/US/FR) and CORA VON ZEZSCHWITZ (CN/FR).
In common linguistic use we mostly tend to refer to the term spaceas a mathematical or hollowspace rather then an experienced space.
We inhabit this mathematicalspace – we dwell in it, we work in it, we are dominated by this Euclidian structure and it forms the center of our lives, may it be a house or an apartment, an office or an industrial space.
This mathematical space, which is to a certain degree shaping our perception, is like a skin which can barely be permeated, which reflects on our behaviour and our relationships to ourselves, other persons and/or objects of any kind. We cannot escape the fact of enclosure and structure, not even via architectural features enhancing the idea of the peripheral vision.
The human being is always and also necessarily conditioned in his life by his behaviour in relation to a surrounding space.
Experienced space on the contrary is by nature unstructured, and in this way extends in all directions into infinity, even when first given as a closed finite space lacking any form of socially functional activity.
This experienced space is deeply manifested in human life.It is related to the human being by a vital relationship with subjective and objective life in it and with it, and forms an essential medium of human life and expression.
The temporary extra-muros installation, entitled RE-STRUCTURING, aims to investigate the subjective and objective perception of space – of concretely experienced space opposed to a measurable mathematical space.
The structure in its rather raw and barren appearance recalls vaguely the outlines of a simple mathematical space transforming its volume into a spatial drawing leading towards the idea of an experienced space.
In its form an ‘open’ structure, a conscious construction of space, this work is to be understood as a topos, a place of departure for this investigation – visually and mentally. By its nature, its proposed ‘mobility’ as well as its structural fragility, the structure aims to suggest the idea of a nomadic existence rather then that of of a fixed location, once the meaning of space and topos are subject to change according to various backgrounds and areas of life. The singularity of its qualities is a form of expression, a test and realization aiming to invite the visitor to explore, experience his relation to the given open structure and reacting to it.
The structure can be seen as a place of passage or as a resting place, a place of fulfillment or as a possibility of development of thought. It can be experienced as a place of resistance as well as toeing the borderlines of spatial experience. It wants to inspire a dialogue regarding our relationship to space in its intimate, social, mental and even political dimensions.
In the second edition of INFINITE VILLAGE (the first edition was recently installed at N.O.S / Non-Objectif sud in Tulette, France) the artists choose the form of a passage/corridor as architectural vehicle to further research the possibilities of space as a medium. Over the course of two days, the artists will closely work and discuss with Prof. Renato Bocchi of IUAV/Venice and his students the idea of restructuring a given structure, explore all its ramifications and possibilities, and create new volumes and spaces to be inhabited and experienced.

---

Despaced, 2017 in collaboration with Cora Von Zezschwitz @ NOS, La Barraliere, Tulette (FR)

INFINITE VILLAGE / DE_SPACED
A collaborative project with Cora von Zezschwitz
NonObjectiveSud (NOS)
La Barraliere, Tulette (FR)
09.2017-10.2017
The project DE_SPACED is a collaborative work and creative dialogue between the artists Cora von. Zezschwitz (CN/FR) and Tilman (D/US/FR). In common linguistic use we mostly tend to refer to the term space as a mathematical or ‘hollow’ space rather then an experienced space. We inhabit this mathematical space – we dwell in it, we work in it, we are dominated by this Euclidian structure and it forms the center of our life, may it be a house or an apartment, an office or an industrial space. This ‘mathematical’ space, which is to a certain degree shaping our perception, is like a skin, which can barely be permeated, which reflects on our behavior and our relationships to us, other persons and/or objects of any kind. We cannot escape the fact of enclosure and structure, not even via architectural features enhancing the idea of peripheral vision. The human being is always and also necessarily conditioned in his life by his behavior in relation to a surrounding space. Experienced space on the contrary is by nature unstructured, and in this way extends in all directions into infinity, even when first given as a closed finite space lacking any form of socially functional activity. This experienced space is deeply manifested in human life. It is related to the human being by a vital relationship with subjective and objective life in it and with it, and forms an essential medium of human life and expression.
The temporary extra-muros installation, entitled DE_SPACED, aims to investigate the subjective and objective perception of space – of concretely experienced space opposed to a measurable mathematical space.
The structure in its rather raw and barren appearance recalls vaguely the outlines of a simple mathematical space transforming its volume into a spatial drawing leading towards the idea of an experienced space. IIn its form an ‘open’ structure, a conscious construction of space, this work is to be understood as a topos, a place of departure for this investigation – visually and mentally. By its nature, its proposed ‘mobility’ as well as its structural fragility, the structure aims to suggest the idea of a nomadic existence rather then that of a fixed location, once the meaning of space and topos are subject to change according to various backgrounds and areas of life. The singularity of its qualities is a form of expression, a test, and realization aiming to invite the visitor to explore, experience his relation to the given open structure and reacting to it.
The structure can be seen as a place of passage or as a resting place, a place of fulfillment or as a possibility of development of thought. It can be experienced as a place of resistance as well as toeing the borderlines of spatial experience. It wants to inspire a dialogue regarding our relationship to space in its intimate, social, mental and even political dimensions.

---

Make-space/Raw, 2016 in collaboration with Colombe Marcasiano (FR) in RunRunRun @ Villa Arson, Nice (FR), organised by La Station and Villa Arson

MAKE SPACE/RAW
In collaboration with Colombe Marcasiano
RunRunRun- organised by Villa Arson& La Station, Nice (FR)
10/2017-12/2016

MAKE SPACE /RAW is the forth presentation of a series titled ARTITECTURE aiming to explore the possibilities of space itself and its given function as a platform or communal ground. The underlying concept for the proposed structure explores the thought of anopen painting, anopenart work that provides all parties to communicate; for dialogue, experimentation,reflection and exploration. The conceived structure goes beyond the idea of the usualpresentationalart space, like a gallery space or a museum setting. It explores and invites to explore the idea of space as a physical space. It is a place to experience the structure itself, its point of peripheral vision and last not least any other form of artistic impression inhibitating this space.
The given space operates like a diagram. A diagram as a simplified and structured representation of ideas, relation and different aspects of human activity. A diagram makes it possible to describe phenomena, to highlight correlations between certain factors or to represent parts of a whole.
Emphasizing the ephemeral qualities of this autonomous structure ,MAKE SPACE/RAW can be characterized as a space dedicated to making, to creating and working in correlation to the observation of a given spatiality and its social rammification and trajectories. MAKE SPACE/RAW is not a private place but a public space to be inhabited, a place to be experienced , to be admittingly physicallly but also socially – in other words in relation to culture,  language (or languages), memory, to the act of projecting oneself and of conceiving and sharing ideas and thoughts. MAKESPACE/RAW is a place to expose and a place that exposes, a place that potentially invites the audience to participate in the multiplicity of similar experiences, perceptive and otherwise. Thisopenwork aims to never be reduced to a single reading or interpretation. Its meant to inspire individual thought and to indulge in a variety of ideas and correlations. It`s up to viewer to submerge in to his own world of thought and to tie the loose ends together to create a unique experience.
For this collaboration I invite French artist Colombe Marcasiano to participate and inhibit the structure (http://c.marcasiano.free.fr/)

---

Radio Vallebona, with Greet Billet & Minusspace, Brooklyn, NY, 2013

Radio Vallebona / Transmission #1
With Greet Billet
@ Minusspace, Brooklyn, NY
01/2013-02/2013

MINUS SPACE is pleased to announce the exhibition Tilman: Radio Vallebona / Transmission #1. This is the NYC and Vallebona, Italy-based artist’s second solo exhibition with the gallery and it will feature the first installment of his new transitory, environmental sculpture entitled Radio Vallebona. Developed over the past decade during extensive travel throughout Europe, Australia, Asia, and the United States, Radio Vallebona is the culmination of various aspects of Tilman’s studio practice, including his investigation of colour,
light, architectural space, and social engagement with the public. Tilman’s installation also emphasizes the nomadic nature of his current practice, which often results in temporary site-specific projects realized in collaboration with other artists, curators, and exhibition venues. Described by the artist as “an open structure, a laboratory, and an arena for reflection, discussion, and exchange”, Radio Vallebona / Transmission #1 will consist of a single site-specific architectural structure extending throughout
the entire space of the gallery made of lumber, plywood, MDF, pegboard, fabric, light, and paint. The installation will also feature LCD projections of abstract and text animations, as well as an audio recording of various radio broadcasts near his remote, rural studio in northern Italy. For his installation, Tilman also invited guest Belgian artist Greet Billet to create a new iteration of her ongoing project: The development of the monochrome in its digital and analogue form of apparition. Started in 2008, the project investigates the tension between the digital (objective) and analog (subjective) nature of color through projected light, the screenprinted page, and installation. This is Billet’s first exhibition in the United States. A color catalog will accompany the exhibition. (excerpt, MINUS SPACE Press Release)