text

text

Achim Stiermann is an artist who situates his work at the center of a plastic society and consumer world. From this environment he gathers the construction materials that become the elements of his art works.

His works are idea-based and have a transdiciplinary approach. He often operates in public spaces beyond the classical exhibition setting.

The drinking straw enthusiast also likes to apply other soft and fragile materials from everyday life: beneath drinking straws are noodles, sugar cubes, styrofoam or cardboard. In his sculptures and installations he attempts to set these materials in new spatial and conceptual contexts.

Stiermann plays between worlds of components and genres. He consistantly melts and newly reassembles the functions of his materials and spatial combinations. In their net-like structure the following spatial drawings accomplish a mimicry of the digital.

His image carriers, taken from the everyday life, are dashed – literally – into new dimensions over and over again. Such shifts in oscillation, tension and relaxation and released from their original function, they suddenly show a completely new quality: the banal becomes weird, functional, funny and poetic – sometimes all at once.

In the spatial formulation and visual world of Stiermann they all collide: stasis and movement, analog and digital, fragile and stable, chaos and order, the enforced logic and its failure, the water tight concept and the queer in the pitch – absurd combinations with a nifty tounge-in-cheek.


Thomas Elsen
Full Tubes at Full Tilt: Achim Stiermann at the Augsburg Höhmannhaus

The field of Achim Stiermann’s artistic activity eludes characterization in terms of conventional classifications. He himself roundly resists such labelling. Stiermann works in the studio just as scrupulously as in the public space, operates in a transdisciplinary way as a creative experimenter in the widest sense. His practice oscillates between spontaneity and persistence, humor and experimental curiosity, and the great technical precision with which he brings his ideas into reality is leavened by an obvious fondness for the absurd. This likely holds for all of the media employed in his projects to date – for the conceptual paintings and kinetic objects as much as for the performative stag- ings or the medium of the moving picture. Stiermann’s reservoir of ideas seems far from being exhausted, and the range of forms through which his ideas are transformed into art is accordingly large.
continue


Marina Grzinic
Reconstructing the Processor
Roland Seidel and Achim Stiermann’s »MAN OS 1 / Extraordinateur«
Springerin 03/06

Roland Seidel and Achim Stiermann’s project MAN OS 1 / extraordinateur is a performative video film work lasting around fifteen minutes, a work on whose realization the artists have spent a couple of years. The work was completed recently, although it bears the hallmarks of being a work in progress. This is saying nothing new; everything today is open to processuality, and processuality seems to be the never-ending story of contemporary art works. However, the logic here is a different one, and I just hope that the mainstream media capitalist commercial machine will not too quickly kidnap this masterpiece of experimental visual invention and display it naively in future commercials.
continue


halme_web250











halme_web250








halme_web250