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Isa_Genzken | Dominique_Gonzalez-Foerster | Tue_Greenfort | David_Hammons | Valérie_Jouve | Mike_Kelley | Suchan Kinoshita | Marko_Lehanka | Gustav_Metzger | Eva_Meyer und Eran_Schaerf | Deimantas_Narkevicius | Bruce_Nauman | Maria_Pask |
Manfred_Pernice | Susan_Philipsz | Martha_Rosler | Thomas_Schütte | Andreas_Siekmann | Rosemarie_Trockel | Silke_Wagner | Mark_Wallinger | Clemens von Wedemeyer | Annette_Wehrmann | Pae_White
Guy Ben-Ner, an Israeli artist, focuses on mobility in Münster, the "city of bikes". In his project "I`d give it to you if I could but I borrowed it" Ben-Ner will equip a number of bicycles with screens and video players, and place them around the city. These bikes, thus, become "image machines". The visitor controls the speed of projection by moving the pedals of the bikes, as well as make the film run forward or in reverse. The film shows the artist on a bicycle tour of the city.
His bike is a ready-made object. Before the exhibit, Guy Ben-Ner will dismantle a number of well-known ready-mades, and reassemble them, to make a functioning bicycle. This project is being carried out by Guy Ben-Ner with his children. The family, education and the image of a man have always been themes of inspiration for Ben-Ner's art.
The video artist Guy Ben-Ner became internationally renowned when he represented Israel at the Venice Biennale in 2005. The work he presented there, ‚Treehouse Kit’, deals with a tree made of pieces of furniture, which the artist turns into a tree of survival. It might, thus, serve the modern version of a Robinson Crusoe. Ben-Ner, who completed his art studies in New York in 2003, was the lone survivor already when he showed ‚Berkeley’s Island’ (1999) – the artist squatting, stranded next to a palm tree on a sandy island, in the middle of his kitchen. The quasi domesticated artist is reluctant to accept the roles allocated today to family members. He does the chores, but discusses his unsatisfied desires, and stresses the incongruity between the cliché-like fury of the artist or the savagery of man, and modern lifestyles. Ben-Ner uses his body in the performance videos in order to paint the self-portrait of the family man (Edelsztein). It is also the family man who tries to transmit everyday culture to his son in ‚Wild boy’ (2004), or who, in ‚Moby Dick’ (2000), converts his kitchen into a whaler, which does not hunt legendary animals, as in Herman Melville's novel, but gets to the bottom of traditional myths. Ben-Ner's filmed self-portraits show the artist after he has arrived in reality.