Do you know what they would have done in the 1950s if you had seen an UFO? In the USA, I would have requested a form from the Air Force and described everything, like Wilhelm Reich did. I had planned to use his forms and then a UFO interfered, so I didn’t send it off.
Issue 9 of the freeman’s journal was published in several chapters, each in another magazine, in 2009 and 2010. All the time it’s about progress, technology, electricity, space …
Chapter 1 was published in “schwarzweiss3”, edited by Max Schulze and Katrin Menne.
Chapter 2 was launched in issue 51 of the literature magazine “edit”.
Chapter 3 was my fast contribution in the Magazine “Krachkultur, issue 13”, of which I was co-editoir for 20 years.
Cahapter 4 came out in Prolog, edited by Anton Schwarzbach.
This booklet was published as a source book of the exhibition by the same name.
The exhibition “Rosebuds” was accompanied by a publication in which all participants presented briefly one or more objects from the exhibition.
I contributed a text about the distorting mirror and the relationship of selfies, simple image editing effects and painting in the time of Mannerism. A second text compares the shape and use of slates with tablet computers.
BoD – Books on Demand
The 1958 World Fair in Brussels was a manifestation of the nuclear age. The German weekly magazine “Der Spiegel” (The Mirror) reported about it. This era was the best time of “quick pocket magazine”. It was obvious to me to bring the World’s Fair in “Der Spiegel” into the artist magazine series of the “Quick“-zines. Quotes and recalls: The entire report from “Der Spiegel”, without text, mirrored.
Quick Magazine #10—Welt im Spiegel
21 x 14,5 cm
A visual essay for the annual magazine of the Landesverband Bildende Kunst, Sachsen, 2018, with a explaining text:
We dive in, we take off. Buckle up! Let’s go to a new journey into the Warburg universe. This is the terminus I chose analogue to the “Gutenberg Galaxy” by Marshall McLuhan’s . My work is characterized by mostly found images: images from the collective memory. The contexts shift through the combinations and analogies of the images within a visual essay.
Aby Warburg’s „Bilderatlas Memnosyne” sets a historical mark for the multi-dimensionality of the visual world over the one-dimensional linearity of linguistic narration.
Warburg’s picture atlas is the starting point of the present picture essay, which begins with a reproduction of the third panel of the „Bilderatlas“. We see images of planetary orbits, Mars and airships. I zoom in, out of the book, on the airship “Graf Zeppelin”, which took a trip around the world in 1929. Right in this year Warburg presented his „Bilderatlas“ in the library Biblioteca Hertziana in Rome (but without this “Tafel C”). In my essay, we will encounter aviation, its myths through originals, stagings, interpretations, duplications and fakes, fiction and its opposite. The pictures come from my travels to Rome and Olevano Romano, Prague, Friedrichshafen, as well as from books, movies, and the internet.
Visual essay on William Shakespeare‘s “The Tempest” and it’s interpretation as a science fiction movie in 1956 for the book “Planetary Echoes” edited by Lukas Feireiss and Michael Najjar.
89 black-white and colour illustrations
Leipzig January, 2018
When I was working ob a spatial essay about the spy Rudolph Abel I knew there would be a book on occasion of an exhibition. This gave me the opportunity to differ between space and book. Which would be the Shake for which content. The book starts with a visual essay on Abel in mass medias such as magazines or movies. I asked Louise Bernikow to write a text why she as a young woman came to the decision to make her first book in 1970 a biography on Abel. In “The Emperor of Ice Cream” she tells us about this. Ulrike Boskamp wrote a text about when artist were mistaken as spies for drawing in the open. René Zechlin contributed a test about my research based work.
Blurb: When the Russian spy Rudolph Abel (1903 – 1971) was arrested in New York on June 21, 1957, the FBI found fifty oil paintings in his studio. Abel had used his work as an amateur artist and photographer as his cover. His favourite subject: lonely old men in the big city. For his book »Amateur« Fabian Reiman has conducted research in FBI archives to learn about the circumstances of the life of the artist spy. The pictures taken by the FBI of Abel’s studio and workspace show him as someone who was adept in priming canvas as well as making wiretaps.
The book was published on the occasion of the exhibition »Amateur und Überflieger« at the Kunstverein Hannover 2013.
116 pages, with Illustrations
stitched gatefolded brochure
Leipzig / Hannover März, 2013
The former short-term lovers of James Bond, who were not allowed to end the film, are assembled in chronological order of the films until 2007. There were so many that there were two staples, but on average 2.5 per film.
Imagine, the world is a great alien-driven conspiracy that turns into mindless consumers, Bus your eyes are opened. In John Carpenter’s film adaptation of the story, “They Live,” a construction worker sees through special spectacles this global conspiracy in the form of command texts throughout Los Angeles and across the media. Fj 8 collects all the texts in the form of a magazine the size of a dime novel.