Ein Name findet sich (A Name Finds Itself),  2026

Installation with approximately 102 unique bronze objects, wooden platforms, metal and stone supports, photographs, magnifying glasses, paper, light

Bronze objects: approx. 1.5–10 cm high

Constellation I: 90 × 180 × 180 cm

Constellation II: 40 × 130 × 150 cm

Kunstverein Ludwigsburg im MIK, Ludwigsburg

The installation begins with the act of naming. Approximately 102 small bronze objects—whose forms emerged through the making process rather than from predetermined designs—are arranged in constellations and encountered through distance, close observation, comparison, and repetition. Here, a name is not assigned. It is found.

Ein Name findet sich (A Name Finds Itself) is an installation in the Salon, the vaulted cellar of Kunstverein Ludwigsburg. Approximately 102 bronze objects form constellations across two large wooden platforms at different heights. Solitary objects on metal or stone supports, folding cards bearing photographs of individual objects, magnifying glasses, and a sheet inscribed “I am ________” invite different forms of attention—from a distance, close up, through comparison, and through repeated encounters. Directed light keeps the room dark and stage-like, isolating individual forms and subtle differences.

The objects originate exclusively in plants that are deliberately and repeatedly removed as weeds. Unlike flowers and cultivated plants, which are bought, cared for, or displayed, these plants are routinely cut down, yet continue to return. The artist collected them and dipped them into molten wax. Their structures, movements, and the accumulation of wax generated forms that were not designed in advance. These forms were then cast in bronze. Initially chosen for practical reasons related to casting, bronze later came to carry another significance: plants treated as unwanted and disposable are translated into a material associated with value and permanence.

The work proceeds from the premise that each object, having taken shape without a predetermined design, already carries a name of its own. The viewer is not asked to name or classify it, but to discover that name through attentive looking. Naming—with its implications of possession and attribution—gives way to recognition. The name is already there: it is not assigned, but found.

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