Bees, Candles, Roots, and Remembrance

Interview with Alexis Hyman Wolff

A woman standing in front of a showcase with books.

Alexis Hyman Wolff in her exhibition Zur Zeit at the Museum der Dinge, Berlin, June 2013.
Photo courtesy of the artist.

One of the works in our art vending machine is a candle shaped like a root, made by the artist and curator Alexis Hyman Wolff. In this interview, she offers insight into the development of the work:

Christiane Bauer: Why did you make a candle for the art vending machine?
Alexis Hyman Wolff: Thinking about the small size of the objects and the temporary home they would find in the vending machine, I wanted to reflect on the idea of the souvenir, a central theme in museums. Candles are used for memorial in many cultures.  In Jewish tradition, a yortsayt candle is lit to remember a loved one on the anniversary of their death.

What is special about the material you used?
The candles are made out of beeswax from a beekeeping supplier in Berlin. I understand that beeswax is one of the few materials that burn without producing black smoke, which could explain the belief that burning beeswax candles is good for the air.  According to a European folk custom, when someone dies, a member of the family must go to the hive and “tell the bees,” and also invite them to the funeral. This tradition suggests a link between bees and the spirit world.

How important is the aspect of “remembrance” in your work?  continue reading


A Letter from the Museum

An Interview with Alex Martinis Roe

Artist sitting at a desk in an nearly empty room

Alex Martinis Roe, Encounters: Conversation in Practice, performance still, 2010.
Image courtesy of the artist.

To obtain a letter from a vending machine – even from an art vending machine – is rather unusual. In this interview, Australian artist Alex Martinis Roe explains what motivated her to create the artwork “A Letters to Deutsche Post.”

Christiane Bauer: Alex, you drafted a letter to Deutsche Post, asking the officers to reissue stamps depicting Rahel Varnhagen and Hannah Arendt. When our visitors purchase the letter, are they supposed to send it to Deutsche Post?

Alex Martinis Roe: I don’t expect visitors to send the letter to Deutsche Post, because I didn’t ask them to. They can do whatever they like with it. If they send it off, I’m happy. If they keep it, I’m also happy. (laughs) What I hope, is that they read the letter and become interested in the story.

Why did you choose to make a letter for the art vending machine?  continue reading


Art, Trash, and One-Way Realism

A Conversation with Andrei Krioukov

Crushed Coca-cola cans with Hebrew and Arabic letters

Artistically-treated Coca-cola cans
© Jewish Museum Berlin, photo: Jens Ziehe

As a contribution to our art vending machine, Andrei Krioukov treated and crushed Coca-Cola cans with Hebrew and Arabic labels. I met him and his wife Rita at their art school on Immanuelkirchstraße in Berlin. This is where Andrei teaches international students, who both study and take their state-recognized exams with him.

In our discussion Andrei talks about his fascination with the design of the famous cans and explains the elements of both trash and art they represent.

Christiane Bauer: Andrei, what fascinates you about the Coca-Cola can?

Andrei Krioukov: These cans are typical of our lives today. You can find them everywhere, but hardly anyone notices them. For me, the discrepancy between art and trash is an exciting subject: if a can is lying on the street, it’s trash. But if I pick it up and contemplate it, and I ponder what I can do with it, it turns into art.
An artist from the 19th century could paint garlic, an onion, or a pitcher of water. Today our lives are full of Coca-Cola cans.

The pitcher appeared in still life paintings as an object from everyday life. What significance does the can have? Do you see a can of Coke as a disposable article or as a modern cultural artifact?   continue reading