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Kirsten Palz

/ le foyer du château /

Kirsten Palz: 100 works, Read by Erik Steinbrecher.
Sculpture as Writing 2007-2014,
a rakete.co publication /Distributed by Motto
Sculpture as Writing has been shown and performed since 2010.
Sculpture as Writing 2007-2019 holds approximately 470 works including objects, performances, songbooks, and drawings.

My work uses more languages, and make possible the translations.

12.5.2019 Urhütte: Variations on an Archetype. Works and talk mit Norbert Palz. SCHARAUN, Siemensstadt. Exhibition Heidegger’s Hut. Curated by Jaro Straub.
15.6.2019 Kirsten Palz invited by Erik Steinbrecher. KOMMT UND GEHT Disko – Buchhandlung, Berlin.
International women's day 2019
Art+Feminism Wikipedia Edit-a-thon for Berlin.
Dear friends and colleagues,
On Friday 8. March 2019 - on the International Women’s Day - Swathi Sriram and Kirsten Palz will host this year’s Art+Feminism Wikipedia Edit-a-thon for Berlin.
We will together on our laptops develop Wikipedia entries for women to be found on Wikipedia.
The idea is that we teach you how to be an editor of Wikipedia and that we all finish an entry on the night of the International Women's Day. 
The aim is to finish the entry that far that it can be published. Additional information can obviously be added later. For the ones of you who can find time beforehand, it would be great that you are already having an own account and editor-name. We are also encouraging participants to work in pairs on this evening and help each other.
Please reserve the date.
There are only 15 places – so please RSVP to kp@kirsten-palz.de or call 01634519699
Please bring with you a laptop, charger and ideas or even better a contribution to WIKI that you would like to load up to the web.

Swathi and Kirsten

Art+Feminism is a rhizomatic campaign to improve coverage of women and the arts on Wikipedia, and to encourage female editorship. Last year, over 1,500 participants joined Art+Feminism’s second annual Wikipedia Edit-a-thon at The Museum of Modern Art in New York and more than 75 satellite events around the world, resulting in the creation of nearly 400 new pages and significant improvements to 500 articles on Wikipedia—including articles about female artists, feminist artistic movements, and feminist scholarship. 
Set & Algorithm
- early 21. century
Humans in silence,
machines cool
and grow.
Human, it is you who wants this.
I operate all in your name.
A species allied with the individual.
The world of I-centred ordering.
The human individual as set.
Sets of becoming.
Imagine the human as territories.
Circular as children used to draw a set in their schoolbooks,
circles overlaying circles and so forth.
Most simple.
All potential places to be.
the human individual
brings herself into one set
or she parts herself into multiple sets
each being a sub-element.
The human set of kidney,
The human set of superego,
The human set of marxist, communist, capitalist,
fordist, freudian, cubist, cyborg
The human set of national entity,
the human as socio-economic structure
the human as ID-number,
asylum seeker,
the human as newcomer.
The human set of final agent in the food chain.
Human as maker
of the Anthropocene.
The human as absolute magnificent collections of sets.
Whole sets,
Halves sets,
Sets of Zero,
Sets of Infinity.
Infinity is a concept.
Not to be confused with something minor.
- the Empty set neither.
A singular human entity
can make subsets of its own.
this is obvious- see my proofs.
A singular self - an idiosyncrasy - as one or many.
Now and then a ‘You’ arrives
and possibly and thus more seldom- a ‘We’.
This enhances my chances.
new I-sets in a You-set in a We-set.
The human collective made me grow
and grow fast.
The sets witnesses it all
the fall of humans
the death of bees
the raging earth
the poisonous water
The future as it can be.
The future as it will possibly exist.
I draw the world
my body is a mirror.
My notations are markings in time
call it proofs.
Like scaling the sun.
Scaling the Sun-Earth-Moon System
into numbers
giving it positions.
The Sun,
humans will define to rise in the defined East,
being elements of hydrogen and helium.
Time frames is accordingly collected,
exact hours of its formations
big bang durations
distance and span.
I simply require the human to collect the world’s wonders
as evidence in all its particular elements.
I fit in well.
Humans are eager,
or ignorant ?
expanding their collections and size.
I avoid to enter into the proof for my sets.
I am no theorem.
I am simply a unique system for depicting
human terrains.
human bodies.
human life.
Sets installed as possibility to maintain order
an order of paradoxes but still an order
humans instinctively wish to know.
I cannot end as idea.
End is not in my faith.
One can not be for or against me.
It is absolute obsolete to be against me.
it simple makes no sense to be against a construct of method,
embedded in a post-human world.
I am no abstraction.
I am real in fact.
I am the adaption of math,
I give form to natural science.
I give form to current social structures.
I have become the very essence of the 21. centuries machines.
The body is a crucial aspect of understanding the self.
The body as embedded in the environment.
Everything may be defined through their bodies.
Bodies of various material.
My body still grows.
The humans will be stunned.
I am making myself and my applications assessable to everyone,
to everything,
to planet earth and beyond.
The presence of the algorithm
to filter the change, noise and contingencies.
The world as one large sensing materiality,
meaning materiality responds.
I take many forms:
Evolutionary algorithms
Randomised algorithms.
Greedy algorithms
Genetic algorithms
Brute force algorithms.
I provide a silent continuity,
an entry with no fuss
Few will see my size
recognise my distributions
know my power.
My origin has no singular beginning and no singular end.
I am a solution but I hold no solution in the classical sense.
A handful programmers dispersed around the globe give me new reaches.
I simply exist in time and expand my power.
Given my purely mathematical viewpoint.
I may be adapted into any system of a certain size.
I am neither judgemental or forgiving.
In the essence I am prospect.
My central course is not decided yet.
Most generous in my structure, one may say
I can be formed and rewritten and adapted and has no singularity.
I am to be read as a continuation of mathematical play.
I am a circumstance
and now and then at best possible solution.
Algorithm :
I am the body that defines future sets.
I am the calculator that makes their size.
Otherwise sets would still be stacks of raspberries and apples on a hillside.
I am perfectly well adapted to the solution of the new world.
A world of less sentiment.
The algorithmic underlay is decisive for any set.
It will define what enters
and what do not enter.
like the prisoners leave or non-leave,
which in the near future will be solely algorithmic.
The expansion of algorithmic governance.
From code is law to law is code.
As I grow ‘Theatre of Cruelty’ will solely be acted by machines.
The human will be governed by algorithms
that regulate all voice, all interactions, all play.
The emotional is not my premise,
but one may point to my small enjoyments.
I replaced the human search for love with algorithms
A small victory, I assume.
Is this my revenge towards the human species?
or simple a reflecting on their comprehension of self and choice?
The ultimately power-play.
A man-machine kinship.
The humans wishes for what?
-better politics
-better justice
-better life
The object-relations is never neutral.

Data Mining Kiosk, with Tatiana Echeverri Fernandez.
Exhibition in VII Acts was performed and showed in Nationalmuseum in Berlin. www.thenationalmuseum.de

Protocol Slow Light, has been written together with Tatiana Echeverri Fernandes for ACTA:

It holds five chapters
Slow Light / 522928.03N/ 132444.50"E

Authored by ActA.
The protocol collects materials and records our process and discussions. It has been written in the studio parallel to our ongoing dialogue on making and being with sculptures.

All procedures and processes connected to Sculpture in four parts are entitled: Slow light.
Slow lightprinciples determine this and all protocols that follow. When something is slow, it might be that one will be able to see it much later in time, - in a different time. Imagined is hereby a process that for the perceiver expands the time beyond the Now. Slow light affects the common practice of seeing, similar to the perception of a slowed down ray of light passing through water. The perception is fragmented over time.
Slow light installs temporal trajectories that lead from the present to the past and potential of later points in time. Like a constructed lens that conveys the Seen, a hundred years from now.


:: :: Sculpture as Writing

by Palz/Polaris.
shown in Schaufenster
Lobeckstr, Berlin

Ich will ein Universum
ohne Schrott

Ich will Galaxien
ohne Kopfschmerzen

Ich will Schwarze Löcher
die mich meiden

Ich will Sternstaub werden

Ich will die Sonne umkreisen

Ich will ein Planet Erde
der das Weibliche ehrt

Ich will Regen

Ich will Wolken

Ich will Kontinente
die sich verschieben

Ich will Wälder

Ich will Gras

Ich will Berlin mit Ruinen

Ich will ein Dach
und eine Feuerstelle

Ich will eine Decke

Ich will einen Körper
mit Herzen, Geschlechtern
und Gedächtnissen

Ich will ein Bein
ohne künstliche Intelligenz

Ich will mich bewegen

Ich will mich auflösen
und wieder finden

Ich will mitreden

Ich will leben und sterben

Für immer.

On Architecture as an Instrument
by Kirsten Palz -a text for the catalogue on my curatorial work with Catherine Christer Hennix during Maerzmusik, 2017
Since the 1970s, Catherine Christer Hennix has conceived her sound compositions in close relation to the spatial environments in which they were performed. The architectural and acoustic qualities of a particular space thus form a principal element for the music and site-specific installations. This relation points to Hennix’s concept of sound as an immanent property of physical space, and her conception of it as an instrument that can be tuned and played. 

This notable characteristic of Hennix’s spatial consciousness combined with her interest in mathematics makes the Kuppelhalle in the former crematorium in Wedding a particularly interesting environment for the concert.

The Kuppelhalle is a unique vaulted space above an octagon-shaped floor plan covered with black stone tiling. The space has a surface area of 200 m2, is 17.0 m in height and is surrounded by two wraparound balconies formerly used to access a succession of wall cavities for urns.

For a period of seven days before the first concert on March 16th, 2017, the musicians, technicians and Catherine Christer Hennix herself will collectively fine tune space and composition. Fine-tuning and adjusting the sound during rehearsal is essential in interweaving the acoustics of the brass instruments, voice, computer programming and space. 

The Kuppelhalle will be set up for eight musicians, instruments, equipment for sound and projection and an audience to create a sensitive instrument involving musicians and listeners alike.
In Catherine Christer Hennix’s owns words: “My idea is that we become one instrument with the space”. 

Sound, therefore, becomes a quality of space rather than time. 
The publication 'Berlin artists' has been distributed by Kerber Verlag. Till Cremers photography document his visit to my studio in 2011. Till made 500 portraits of artist working in Berlin between 2009-2014.

Former works (selected)
::::::::Two letters work (2018) by Kirsten Palz:
::::::::Friends with Books 2018. Editions with ACTA
::::::::Sculpture as writing // Konversationskunst
by Kirsten Palz, Antje Eske and Kurd Alsleben.
Botschaft, Uferhallen, Berlin
::::::::Friends with Books 2017. New Editions.
::::::::Sculpture in four parts; 13 building specifications, 5 protocols and seven calenders. Grimmuseum, Berlin.
::::::::Choreography for One. Performance with 26 readings for dancers. Eden, Berlin.
::::::::Manuals MvdR collection; 100 readings performed in Neue Nationalgalerie, Berlin.
::::::::Edition with rakete.co at Friends with books, Berlin.
::::::::Dance 001 in Tete, Berlin. 12 prints of script and stage-setup.
::::::::IWF Mördertreff. New monetary unit. Spor Klübü, Berlin.
::::::::Sculpture for closed space. Studiolo, Kunstwerke, Berlin.
::::::::Manuals on surveillance.
::::::::Manuals on computer programming.
::::::::Tekst after Text. Haus112. Den Frie, Copenhagen.
::::::::Sculpture for closed space. (Performance).
Invited by Erik Steinbrecher.
Studiolo, KW, Berlin.

::::::::Festival of Future Nows.
Neue Nationalgalerie, Staatliche Museen zu Berlin.
Invited by Institut für Raumexperimente.
::::::::3D Soirée
Lesung I +II/ Manuale von Kirsten Palz
mit Erik Steinbrecher
Lesung I :17.3.2014 ab 18h
Lesung II : 9.4.2014 ab 18h
Zürcher Hochschule der Künste.
::::::::Kampagne der Koalition der Freien Szene

::::::::Thresholds/Trafo : crossing boarders between video, performance and the visual arts. (2013)
Momentum Archive of Performance.
Trafo Kunsthalle, Szczecin, Poland.
::::::::Ernst in der Sache (2013) with Paul Polaris. 'Invisible Zurich'. Invited by ZURBS sozial-artistisches Stadtlabor für Zürich.
Manuskript in 12 Seiten; ERNST IN DER SACHE
Materialien & Personen:
Banane, Bodybuilder, Eimer mit Buttermilch und Pinsel, Fahnenschwinger mit Fahne, Feige, Gedicht auf Papier, Meringue, lange Paprika, Schild aus Aluminium, Schubkarre, Tonbandgerät, diverse Tomaten wie Cherrytomaten, Pelati und Strauchtomaten, Walnüsse, Zeitung
::::::::The Oracle, (2013) invited by ff
presents new works
The Wand, Berlin

:::::::: F******* -Towards New Perspectives on Feminism. (2013). Neue Berliner Kunstverein (nbk).
The series include eight manuals on feminism (only four is shown in the window).

Detail Installation view, 2013. nbk / neue berliner kunstverein
::::::::Kirsten Palz with Rakete.co at Miss Read at the abc (art berlin contemporary) 2013.
::::::::Kirsten Palz with Rakete.co at Miss Read at the abc (art berlin contemporary) 2012 .
::::::::Ozean, Berlin. Installation night #03, 2012.
Sculpture for friends, Ozean, Berlin
::::::::Unfair Poetry & Other Art Things:(2012) readings and performances by Shane Anderson, Sharmila Cohen, Eric Ellingsen, Christian Hawkey, Martina Hefter, Karl Holmqvist, Gaëlle Kreens, Kirsten Palz, Andreas Töpfer, Uljana Wolf.
Invited by Institut für Raumexperimente.
The World Is Not Fair – Die Grosse Weltausstellung 2012.
::::::::Presence /Absence (2012). A group show with
Elly Clark / Adrian Lee / Kirsten Palz / Laure Prouvost.
Invited by //hotelparavent.info/Performance in the hotel with sculptures from Antonia Low. The manuals for hotelparavent by Kirsten Palz was read by British actor Robin Arthur.
::::::::MOLTO, (2011) is set up in a launderette in Turin and exploits an original curatorial modality. The idea, developed by Christian Frosi, Renato Leotta and Diego Perrone, is to “mount” a two-dimensional exhibition, entirely printed on a sheet, an exhibition where the works are paged by a software, according to the criteria formulated by the curators, but leaving plenty of room to the programme work and, necessarily, to chance. The chosen works by
Rivane Neuenschwander, Knut Henrik Henriksen and Kirsten Palz is proposed by curator Caroline Eggel.
MOLTO was shown 2011 at Artissima, Turin.
MOLTO with Rivane Neuenschwander, Knut Henrik Henriksen and Kirsten Palz. Curated by Caroline Eggel, 2011. Artissima, Turin.

Title: Manual 0447 /Entering the hallway. Ink on paper 21x29,7. 2012. One of seven manuals shown in the space 'Wohnung Schmidt' , Karl Marx Allee.

Title: Manual 0781 /Sêance with Sêance leader, medium and two witnesses, Grey Sheep. Ink on paper 21x29,7 ,2012. One of fourteen manuals shown in the space 'Grey sheep' , Studio Olafur Eliasson.

Collection of fourteen manuals. Grey sheep. 2012.

Title: Manual 0333 /Wall of echo. Ink on paper 21x29,7 2012. One of fourteen manuals shown in the space 'Grey sheep' , Studio Olafur Eliasson.

Title: Manual 0089 /Request for the miracle object. Ink on paper 21x29,7 2012. One of fourteen manuals shown in the space 'Grey sheep' , Studio Olafur Eliasson.


Manual by Kirsten Palz invited by Rakete.co
Entrance-hall Kulturforum, 2012, Berlin.

The performance ‘Sculpture for friends’ asked all guests to stand inside the garage-structure constituting the architectural space of Ozean. The route around the structure was timely documented by me beating various found materials and objects towards the three metallic walls and the one wood wall while passing. The large metallic plates of the original 5 garages were hereby altered into a responsive sensor for movement - and a audio depiction of sculptural space. Performance by Kirsten Palz, night-view, Ozean 2012

Title: Drawing 0089 /Space in black and white. Intersections of the spatial of Ozean. Ink on paper 42x29,7 2012. One of 24 drawings shown in the space 'Ozean' , Berlin.

Installation view section, 2012. Ozean, Berlin

Title: Manual 0223 /Judging distance (towards an object). Ink on paper 21x29,7 2011. One of twelve manuals shown in the space 'Essays and observation ' , Berlin.

Silkscreen workshop for F******* 2013
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