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Michael Beutler

In the conglomerate
22 July–10 August 2019

Michael Beutler, Råby Planet
Råby Planet, 2018, Råby (SE),
photo: Ricard Estay

Sculpture, installation

Hohensalzburg Fortress

Teaching language
English (teacher also speaks German, co-teacher also speaks Swedish)

What to bring
Materials are provided, but you may bring your own preferred materials and tools.


Maximum number of participants

Gerry Bibby, Ida Lennartsson

Participation fee
€ 950.– (€ 710.–)

Starting from the rock on which Hohensalzburg Fortress stands, this course makes an excursion into the world of the conglomerates – in the broadest sense.

A conglomerate is a sedimentary rock composed mainly of gravel or pebbles. Generally speaking, it is a mixture of different components that combine to form something else. It is rare for something in our environment to be made of a single material; thus in art, too, multiple materials are combined in art-works.

The course aims to encourage participants’ individual work, particularly reflecting the choice and combination of materials. Can the range of materials in a work be extended, or even exchanged? How far does this entail an altered interpretation of the work? What influence does the material have on the surroundings, the space, also in its social dimension? What kinds of freedom or limitations arise from decisions about materials? What happens with material-related experiences if the artist rejects one material in favour of another?

The basic materials will be borrowed partly from one of the store-rooms in the Fortress, partly found and collected in and around Salzburg, or brought by the students themselves, and supplemented by non-material, abstract, performative or theoretical and pictorial materials.

With all these activities, the course is itself a conglomerate, all the participants constantly collaborating in its form, composition and presence in the Fortress rooms.
In his works, Michael Beutler, born in Oldenburg (DE) in 1976, reacts mainly to the social and architectural structures of the specific exhibition space, which is used for both production and presentation. To produce the modules for his installations, he first constructs his own machines, then processes industrially manufactured materials such as paper, metal, wood or plastics. He often involves others in the creation of his works. He regards this state of temporary uncertainty and processual development as a productive component of his work. (see Thomas Thiel, Bielefelder Kunstverein 2014).

Solo exhibitions
2018 Råby Planet, Råby (SE). 2016 Pump House, Spike Island, Bristol (UK); Nottingham Contemporary, Nottingham (UK). 2015 Michael Beutler. Moby Dick, Hamburger Bahnhof, Museum für Gegenwart, Berlin. 2014 Haus Beutler, Bielefelder Kunstverein, Bielefeld (DE); La Loge, Brussels. Michael Beutler, Architekt – Etienne Descloux, Künstler, Kunsthalle Osnabrück, Osnabrück (DE). Ballenernte, Kunstareal Munich, Pinakothek der Moderne, Munich (DE). 2008 Michael Beutler, Bonniers Konsthall, Stockholm.

Group exhibitions
2018 Birds, Oldenburger Kunstverein, Oldenburg. 2017 Viva Arte Viva, 57th Biennale di Venezia, Venice (IT). 2016 the 8th climate, Gwangju Biennale, Gwangju (KR). 2015 Eppur si muove, MUDAM, Luxembourg (LU). 2014 Play Time, Les Ateliers de Rennes, Biennale d’art contemporain, Rennes (FR). Living in the Material World, Kunstmuseen Krefeld, Krefeld (DE); Galerie im Taxispalais,  Innsbruck (AT). Decorum, Musée d’Art Moderne de la Ville de Paris, Paris. 2011 Melanchotopia, Witte de With, Rotterdam (NL). Skulpturales Handeln, Haus der Kunst, Munich.

Udo Kittelmann, Melanie Roumiguière (eds.): Michael Beutler. Moby Dick, exh. cat., Hamburger Bahnhof, Museum für Gegenwart, Berlin 2015.
Sara Arrhenius (ed.): Michael Beutler. Kottgubbar, exh. cat., Bonniers Konsthall, Stockholm 2008.

Michael Beutler
Portrait photo: Sunah Choi