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Selected Works

Alice Creischer, Max Nonne und die Inhaberei von Rechten, 2018, mixed media, approx. 157 x 120 x 28 cm, photo: Ladislav zajac
Alice Creischer, Max Nonne und die Inhaberei von Rechten, 2018, mixed media, approx. 157 x 120 x 28 cm, detail, photo: Ladislav zajac
Alice Creischer, Max Nonne und die Inhaberei von Rechten, 2018, mixed media, approx. 157 x 120 x 28 cm, detail, photo: Ladislav zajac
Alice Creischer, Max Nonne und die Inhaberei von Rechten, 2018, mixed media, approx. 157 x 120 x 28 cm, detail, photo: Ladislav zajac
Alice Creischer, Max Nonne und die Inhaberei von Rechten, 2018, mixed media, approx. 157 x 120 x 28 cm, detail, photo: Ladislav zajac

Mixed media, approx. 157 x 120 x 28 cm

Alice Creischer, Flughafentapete, 1991 - 2018, silkscreen on brown paper, EU passports, dimensions variable
Alice Creischer, Flughafentapete, 1991 - 2018, silkscreen on brown paper, EU passports, dimensions variable
Alice Creischer, Flughafentapete, 1991 - 2018, silkscreen on brown paper, EU passports, dimensions variable, detail
Alice Creischer, Flughafentapete, 1991 - 2018, silkscreen on brown paper, EU passports, dimensions variable, detail

Silkscreen on brown paper, EU passports, dimensions variable

Alice Creischer, His Master's Voice - For the School of Kyiv, 2015, 7'' vinyl record, edition of 70
Alice Creischer, His Master's Voice - For the School of Kyiv, 2015, 7'' vinyl record, edition of 70
Alice Creischer, His Master's Voice - For the School of Kyiv, 2015, 7'' vinyl record, edition of 70
Alice Creischer, His Master's Voice - For the School of Kyiv, 2015, 7'' vinyl record, edition of 70 (Installation view)
Alice Creischer, His Master's Voice - For the School of Kyiv, 2015, 7'' vinyl record, edition of 70 (Installation view)
Alice Creischer, Untitled, 2014, Mixed media installation, 124 x 80 x 6 cm (Installation view)
Alice Creischer, Mavi Jeans, 2012-2014, Collage, watercolor on paper (9 parts)
Alice Creischer, Mavi Jeans, 2012-2014, Collage, watercolor on paper (9 parts)
Alice Creischer, Mavi Jeans, 2012-2014, Collage, watercolor on paper (9 parts)
Alice Creischer, Mavi Jeans, 2012-2014, Collage, watercolor on paper (9 parts)
Alice Creischer, Mavi Jeans, 2012-2014, Collage, watercolor on paper (9 parts)
Alice Creischer, Mavi Jeans, 2012-2014, Collage, watercolor on paper (9 parts)
Alice Creischer, Mavi Jeans, 2012-2014, Collage, watercolor on paper (9 parts)
Alice Creischer, Mavi Jeans, 2012-2014, Collage, watercolor on paper (9 parts)
Alice Creischer, Mavi Jeans, 2012-2014, Collage, watercolor on paper (9 parts)
Alice Creischer, Mavi Jeans, 2012-2014, Collage, watercolor on paper (9 parts)
Alice Creischer, Untitled (In the Stomach of the Predators, 2012-2014), Collage, watercolor on paper (5 parts)
Alice Creischer, Untitled (In the Stomach of the Predators, 2012-2014), Collage, watercolor on paper (5 parts)
Alice Creischer, Untitled (In the Stomach of the Predators, 2012-2014), Collage, watercolor on paper (5 parts)
Alice Creischer, Untitled (In the Stomach of the Predators, 2012-2014), Collage, watercolor on paper (5 parts)
Alice Creischer, Untitled (In the Stomach of the Predators, 2012-2014), 3 Collages
Alice Creischer, Untitled (In the Stomach of the Predators, 2012-2014), 3 Collages
Alice Creischer, Untitled (In the Stomach of the Predators, 2012-2014), 3 Collages
Alice Creischer, Untitled (In the Stomach of the Predators, 2012-2014), 3 Collages (Installation view)
Alice Creischer, untitled, 2007, Colored photographs mounted on wood, paper, dumbbell, Ø 56.5 cm x 5 cm
Alice Creischer, untitled, 2007, Colored photographs mounted on wood, paper, dumbbell, Ø 56.5 cm x 5 cm (Installation view)
Alice Creischer, untitled, 2007, Colored photographs mounted on wood, paper, dumbbell, Ø 56.5 cm x 5 cm (Detail)

Zwei kreisrunde Fotografien Rücken an Rücken als Bodenskulptur. Im Hintergrund des einen Bildes die Statistik der Ausfuhr von Quecksilber von Almadén nach Potosí im 16. Jahrhundert, auf dem anderen Foto Füsse in einem blutrot kolorierten Wasserbad. Ein Textband entrollt sich, darauf ein handgeschriebener Limerick über das Osterritual der Fusswaschung von Sklaven, durchgeführt von einem Plantagenbesitzer, der später von den selben Sklaven erhängt wurde. Die enge Verquickung von Kirche und Kolonialismus im frühen Kapitalismus hat Creischer wiederholt recherchiert und bearbeitet, nicht zuletzt als Kuratorin der Ausstellung „Das Potosí Prinzip“ (2010/2011). Als Theoretikerin und Kunstkritikerin gilt Alice Creischer seit den Neunzigerjahren als eine einflussreiche Position für den linken politischen Diskurs in der deutschen Kunstszene. Lange zählte sie zum festen Autorinnenstamm von „Texte zur Kunst“ und „springerin“. Als Kuratorin wirkte sie an bedeutenden Ausstellungen zur Kritik von Neoliberalismus und Kolonialismus mit. Institutionelle Einzelausstellungen zeigten Creischer als Konzeptkünstlerin, Malerin und Bildhauerin. 2007 war sie auf der documenta 12.

Alice Creischer, Untitled (L'Atelier de la peintrice / The Woman Painter's Atelier), 2000, Collage, 24.9 x 20.9 cm
Alice Creischer, Untitled (L'Atelier de la peintrice / The Woman Painter's Atelier), 2000, Collage, 29.2 x 19.4 cm
Alice Creischer, Untitled (L'Atelier de la peintrice / The Woman Painter's Atelier), 2000, Collage, 100 x 70 cm
Alice Creischer, Untitled (L'Atelier de la peintrice / The Woman Painter's Atelier), 2000, Collage, 14.6 x 19.5 cm (Installation view)
Alice Creischer, Untitled (L'Atelier de la peintrice / The Woman Painter's Atelier), 2000, Collage, 14.6 x 19.5 cm
Alice Creischer, Untitled (L'Atelier de la peintrice / The Woman Painter's Atelier), 2000, Collage, 15.8 x 22.5 cm (Installation view)
Alice Creischer, Untitled (L'Atelier de la peintrice / The Woman Painter's Atelier), 2000, Collage, 15.8 x 22.5 cm
Alice Creischer, Kosovo Series, 1999, Mixed media on paper, collages, photographs (15 parts) (Installation view)
Alice Creischer, Kosovo Series, 1999, Mixed media on paper, collages, photographs (15 parts)
Alice Creischer, Kosovo Series, 1999, Mixed media on paper, collages, photographs (15 parts)
Alice Creischer, Kosovo Series, 1999, Mixed media on paper, collages, photographs (15 parts)
Alice Creischer, Kosovo Series, 1999, Mixed media on paper, collages, photographs (15 parts)
Alice Creischer, Kosovo Series, 1999, Mixed media on paper, collages, photographs (15 parts)
Alice Creischer, Kosovo Series, 1999, Mixed media on paper, collages, photographs (15 parts)
Alice Creischer, Kosovo Series, 1999, Mixed media on paper, collages, photographs (15 parts)
Alice Creischer, Kosovo Series, 1999, Mixed media on paper, collages, photographs (15 parts)
Alice Creischer, Kosovo Series, 1999, Mixed media on paper, collages, photographs (15 parts)
Alice Creischer, Kosovo Series, 1999, Mixed media on paper, collages, photographs (15 parts)
Alice Creischer, Kosovo Series, 1999, Mixed media on paper, collages, photographs (15 parts)
Alice Creischer, Kosovo Series, 1999, Mixed media on paper, collages, photographs (15 parts)
Alice Creischer, Kosovo Series, 1999, Mixed media on paper, collages, photographs (15 parts)
Alice Creischer, Kosovo Series, 1999, Mixed media on paper, collages, photographs (15 parts)
Alice Creischer, Kosovo Series, 1999, Mixed media on paper, collages, photographs (15 parts)
Alice Creischer, Untitled (Showmaster Jackets), 1998, Mixed media installation, dimensions variable (Installation view)
Alice Creischer, Untitled (Showmaster Jackets), 1998, Mixed media installation, dimensions variable (Detail)
Alice Creischer, Untitled (Showmaster Jackets), 1998, Mixed media installation, dimensions variable (Detail)
Alice Creischer, Untitled (Showmaster Jackets), 1998, Mixed media installation, dimensions variable (Detail)
Alice Creischer, Untitled (Showmaster Jackets), 1998, Mixed media installation, dimensions variable (Detail)
Alice Creischer, Untitled (Showmaster Jackets), 1999, Mixed media installation, dimensions variable (Installation view)
Alice Creischer, Untitled (Showmaster Jackets), 1999, Mixed media installation, dimensions variable (Detail)
Alice Creischer, Untitled (Showmaster Jackets), 1999, Mixed media installation, dimensions variable (Detail)
Alice Creischer, Untitled (Showmaster Jackets), 1999, Mixed media installation, dimensions variable (Installation view)
Alice Creischer, Untitled (Showmaster Jackets), 1998, Collage, 28.4 x 39.3 cm (Installation view)
Alice Creischer, Untitled (Showmaster Jackets), 1998, Collage, 28.4 x 39.3 cm
Alice Creischer, Untitled (Showmaster Jackets), 1998, Collage, 28 x 39 cm
Alice Creischer, Ich kann mich nicht unternehmen | Max Nonne suggeriert traumatisierten Soldaten unter Hypnose nicht zittern zu müssen, 2016, two-channel video installation, 9:16 & 4:3, color & b/w, silent, HD video & Found Footage from Funktionellmotorische Reiz- und Lähmungszustände bei Kriegsteilnehmern und deren Heilung durch Suggestion in Hypnose, Allgemeines Krankenhaus Hamburg Eppendorf, 1917, 2:48 min; 5:10 min, installation view KOW 2018
Alice Creischer, Ich kann mich nicht unternehmen, 2016, 9:16, color, silent, HD video, 2:48 min
Alice Creischer, Ich kann mich nicht unternehmen, 2016, 9:16, color, silent, HD video, 2:48 min, detail
Alice Creischer, Ich kann mich nicht unternehmen, 2016, 9:16, color, silent, HD video, 2:48 min, detail
Alice Creischer, Max Nonne suggeriert traumatisierten Soldaten unter Hypnose nicht zittern zu müssen, 2016, 4:3, b/w, silent, Found Footage from Funktionellmotorische Reiz- und Lähmungszustände bei Kriegsteilnehmern und deren Heilung durch Suggestion in Hypnose, Allgemeines Krankenhaus Hamburg Eppendorf, 1917, 5:10 min, filmstill

Two-channel video installation, 9:16 & 4:3, color & b/w, silent, HD video & Found Footage from Funktionellmotorische Reiz- und Lähmungszustände bei Kriegsteilnehmern und deren Heilung durch Suggestion in Hypnose, Allgemeines Krankenhaus Hamburg Eppendorf, 1917‘2:48 min; 5:10 min

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Alice Creischer

Alice Creischer, born in Gerolstein in 1960, studied Philosophy, German literature and Visual Arts in Düsseldorf. As one of the key figures of German political art movements in the Nineties, Creischer contributed to a great amount of collective projects, publications, and exhibitions. Her artistic and theoretic agenda within institutional and economical critique has evolved over 20 years, more recently focusing on the early history of capitalism and globalization. As co-curator of such paradigmatic exhibitions like Messe 2ok (1995), ExArgentina (2004) and The Potosi Principle (2010), Creischer has developed a specific curatorial practice that correlates with her work as an artist and theorist, including her extensive practice in archive research. As author Creischer has contributed to many publications, magazines and fanzines.



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