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rushnyk - desastres de la guerra

Rushnyk – a woven linen cloth with Ukrainian cross-stitch embroidery, is a symbol of hospitality and an inherent part of folk art. 'Desastres de la guerra' or 'The Horrors of War' is a series of 82 prints by the Spanish painter Francisco de Goya, created between 1810 and 1814. In light of the war in Ukraine, the 'Rushnyk / Desastres de la Guerra' series combines both art forms into embroidery images, depicting the horrors of war in Ukrainian embroidery designs.

Kiew 2010

The occasion for the exhibition 'voina y mir' was the premiere of 'War and Peace' in the Bayerische Staatsoper on March 5, 2023. In contrast to 'Desastres de la guerra', views of Kiev during peacetime are shown on the second floor of the Architekturgalerie München.
The series of images dates from 2010 and was photographed by Johannes Schele during a lecture tour. The photos were taken on a car-free Sunday in central Kiev, people strolling on the streets enhance the peaceful atmosphere.


For a long time the European project was considered an obvious development that generated benefits for all parties concerned. The succession of serious crises that move the continent for a decade, endangers this project for the first time seriously. The Brexit could weaken the entire alliance sustainably.
The current situation is so loaded with problems that a positive sign appears necessary. Europe lacks visibility, public presence and positive feedback.

Glowing Industries 2.0

Inspired by the powerful aesthetics of Dutch port areas, the work 'Glowing Industries' was created in the late 1990s. Over two decades later, a new need has prompted a return to industrial site conversion. The expansion of renewable energies, the energy transition away from fossil fuels and the reduction of CO2 emissions are making many industrial structures obsolete. The conversion for other uses seems plausible.


In the early 2010s, the first cross-stitch embroidery images were created, which inspired a whole series of portraits with their low-resolution pixel technology and simplified color spectra.
The rastering of the image information for the cross-stitch embroidery forms the pictorial basis for the later large-format double portraits. These acrylic paintings experiment with low image resolution and the resulting abstraction.

Siedlung 2.0

Many years ago 'morePlatz' had realized the installation 'Siedlung' at the railway tracks of Munich's Central Station. Eight orange tents - each located at the head of abandoned cargo platforms - marked a dynamic space in the very city center just before the place got converted into a new bus terminal. The positive presence of the brightly illuminated tents related to the accelerated kinetics of the nineties when the digital revolution and the information and communication technologies had just started their global impact. The increasing individual mobility had launched a new form of urban nomadism, an interconnectivity of the 'kinetic elite' worldwide.

The Future of Tradition

In 1910, a one-off and never to be repeated event took place at Munich’s exhibition grounds, known today as Theresienhöhe. With nearly 3,600 exhibits arranged in 80 rooms, the show presented and acknowledged the entire spectrum of the Islamic world’s visual culture. This exhibition set new standards for the reception and research of Islamic art in the West.


‚Baugespann‘ visualizes the future development in the Wineharbour Rotterdam.
The inflated balloon-structure marks the planned tower ‚100 high‘ at the corner Wijnstraat-Posthornstraat in scale 1:1.
An array of helium filled balloons are tacked up along four inflated columns as pearls on a necklace. One balloon per floor outlines the envelop of the future volume - the structure visualizes the building right at its original location.

Hafen Münjing

Münjing presents Munich's new infrastructural link to the Mediterranean. The direct connection to the Adria across the Alps sets free the sentiments of 'Fernweh' and the dynamics of harbourcities right in the center of the Bavarian capital. The initial project is realized at the Stachus... Münjing is a collaboration of morePlatz, PAM and Bunnyhill.


Angular remnants of ground are left over where the HSL South line curves away from the Schiphol line. Surrounded by dynamic infrastructure, the site forms a secluded enclave - an island cut out of the scenery - that is yet highly exposed to the vision of thousands of travelers passing by.

The Mobile City

The new spaces of the city are no longer composed of buildings and facades. Transformed data is streaming homogeneously through space and forming global connections. The city is the whole earth and all the cities are one city. A coherent network of mondial exchange is maintained by the inhabitants of its multilocal center.


West of Munich’s Central Station there’s a particular space. Secluded urban void located in the citie’s very center. An empty field of rails and electricity lines providing routes and destinations. It is bordered by discarded cargo facilities and rails, interlocking like fjords.

Glowing industries

Glowing industries‘ proposes to inhabit the interior spaces of large industrial structures. The rough beauty hidden in these megasculptures ignites the wish of appropriating, colonizing and possessing. An aesthetic strength shimmers through the volumes‘ surfaces, shaped and designed by nothing else but functional means.


Spatial spas are bifurcations of the mobile reserved place and the layers in front and behind of it. They are subjective maps. They describe ubiquitous conditions and categories of the city, from which one is composing one’s own city - universal map of internal cities. These undetected more-world trips facilitate further education and help tracing out the right way to the right place in the nomadic world.


The videofilm ’more Platz‘ accompanies our agency for mobile, reserved places at its conceptual and actual work - in the office, in the city and its surroundings. The agency‘s concern is to reflect on space in general and on the everyday usage of the enormous potentials of available spaces.The infinite possibilities of the ‚wide and undefined‘ and the interrelations of location, event and time determine the ’more‘ view.

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