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tinyBE #1 – living in a sculpture

participating artists


  • Onur Gökmen
  • Christian Jankowski
  • Alison Knowles
  • Terence Koh
  • MY-CO-X
  • Laure Prouvost
  • Mia Eve Rollow & Caleb Duarte
  • Sterling Ruby
  • Thomas Schütte
  • tinyBE Extra: Charlotte Posenenske





Discover examples


Artists explore the area of tension between "simplified" forms of life and other sustainable living models and discuss the issue of the social responsibility of art and architecture.

You can download our curatorial statement here.


Mirror house (1996)


The work “Mirror house" was exhibited in 1996 on the Scottish island of Tyree. The construction of steel and mirrors captures the breathtaking landscape of the island. Upon close study of this work, the boundary between the environment and the architectural sculpture becomes blurred. Altenburger's intrusion in the wild and untamed nature, reveals the actual contrast between this and the surrounding environment. In his work, a balance between these two poles emerges.

In art history, the mirror is highly loaded with symbolism: in many ways it epitomizes reflection but may also represent transience or narcissistic self-exaltation, to name just a few - and due to the the location of the ‘Mirror House’ on the smooth surface of the water, the "firstmirror" has also been taken into consideration.

* Mirror house, Temporary installation on the Isle of Tyree (Scotland), 1996 © Ekkehard Altenburger


A Doll’s House (2018)


"A Doll's House" is not only a play in three acts by Henrik Ibsen, but also a huge doll's house by Amabouz Taturo (the pseudonym used by Japanese artist Tatzu Nishi). In 2018, it could be viewed for the first time on the external facade of the Palais de Tokyo in Paris. The life-size rooms extend over three floors, are furnished and have a "trompe-l'oeil" wallpaper. One can imagine oneself as Alice in Wonderland and explore the oversized doll’s house and be amazed by the size, the variance and the attention to detail on each floor.

Nishi works mostly in public space and, with his often monumental, oversized objects, challenges the viewer to question existing structures and to take a different look at monuments and architectural structures - following the principle of: “Making the known strange again.”

* Une maison de poupée (A Doll’s House), Paris, 2018 © Taturo Amabouz, Foto: Aurélien Mole


Rough Sleepers Tower (2016)


With the living system of “Urban Normads", which also includes the work “Rough Sleepers Tower", Winfried Baumann created a concept of mobile mini-homes. Artistic confrontations related to the themes of: mobility; housing; food; and locomotion are also incorporated within the scope of this term. 

"Rough Sleeper" is a direct reference to the homeless, a term which refers to people who sleep in the open without shelter. Baumann has been focusing on homelessness since 2000, and with this modular principle, several people can be offered private and sheltered space - on a very small footprint. Despite its functional nature, the sculptural character of his work remains prime consideration.

* Rough Sleepers Tower, Röttingen, 2016 © Winfried Baumann


Pecafil City (2013)


Michael Beutler’s work, “Pecafil City" ’, is named after the bright yellow, biodegradable building material, Pecafil. On average, it takes Beutler two weeks to set up his work with the help of students, artists, craftsmen or local residents. The architectural sculptures are usually understood after concentrated observation: the supposed confusion or chaos and the arrangement of the modules and objects reveal their spatial structure in relation to each other. The objects communicate with each other as if in a walk-in ‘still-life’.

The illustrated work shows an entire "city" comprising architectural bodies. On the one hand, it can sharpen the perception for relationships between architectural modules - for example in the urban environment. On the other hand, the transient material is noticeable when walking through his works. His sculptures are not designed to stay in one place forever.

* Pecafil City, Firmengelände FRANK (Leibfing), 2013 © Michael Beutler, courtesy Bärbel Grässlin, Frankfurt


Bio Diversity (Blooming, Flying, Standing) (2018)


The Swiss artist, Florian Graf, is interested in space and how our psyche and our body, can interact with it. The series “Biodiversity” comprises sculptures which, in turn, are composed of three different elements: an introverted ; an aggressive; and an extroverted part - as the artist himself calls them. By assembling these three parts in different ways, a unique relationship to the viewer is created. An attached mirror or a window alludes to an assumed interior of the works. According to Graf, "works of art are […]  quasi-alive, creatures to which we ascribe a life of their own. And the world of nature, with its infinite, combinatorial possibilities, creates a breathtaking diversity out of the same building blocks."

*  Bio Diversity (Blooming, Flying, Standing), Ausstellungsansicht Out & About, 2018 © Florian Graf, Foto: Gina Folly


Bee Chapel (2017)


Terence Koh's "Bee Chapel" is a place in which a person may sojourn with a swarm of bees. Separated by a net, the bees can be watched in action at close range. Being in the chapel, the humming of the bees and the smell of honey should be the only things one perceives. The decelaration will be counterpart to the outside world. One purpose of the chapel is also to address the dying of the bees. As the artist says: "I think that concerns all of us, but the Bee Chapel is also a place to unwind and relax.” 

Since the implementation of this project in 2015, the internationally well-respected artist digresses from his former artistic theme – the Colour White – and concentrates intensely on alternative concepts for life: gardens; and bees.

* The Bee Chapel, Moran Bondaroff (Los Angeles), 2017 © Terence Koh


Holzdrehflügel Serie E (1968)


The oevre of Posenenske can be contextualised within a conceptual network comprising: industrial production; seriality; and sculptural geometry. During her short career as an artist during the years 1956 - 1968, Posenenske developed a"radical democratic" concept of art, rejecting the commercial art market and recognizing the artistic authorship as being shared between artist, producer and participating observer. Her work, “Holzdrehflügel” - The Wooden Rotary Vane - creates a space which can be handled, reconfigured and rearranged by everyone. 

Following to her artistic career, Posenenske studied sociology with focus on labour science and factory work.

* Holzdrehflügel Serie E, Frankfurt am Main, 1968 © Estate of Charlotte Posenenske


Adipöse Enkelin (2004)


A tree-house? Strictly speaking – no. Actually, the work is a life-size model of a tree-house which gives the impression of being a lamp when illuminated from the interior. The underlying questions are: what actually is a sculpture? Which aspects have to be incorporated? Where does a transition to architecture take place? The observer is free to decide the area to which he/she assigns Rehberger's models. The sculpture represents the artist‘s frame of reference, or more precisely, the question as to what a sculpture is and why it is a sculpture? Since 2001, Rehberger has been teaching Sculpturing at the Städelschule and works as an artist in Frankfurt and Berlin. 

* Adipöse Enkelin, Braunschweig Parcours, 2004 © Tobias Rehberger, Foto: Thomas Müller, courtesy Bärbel Grässlin, Frankfurt

van Lieshout

Mobile Home for Köller-Müller (1995)


At first glance, the “Mobile Home" is reminiscent of a modular caravan. The special feature, however, is that there is no overall design. This means that the so-called “Slave Units" can be attached to the different openings of the main part (“Master Unit") as needed. Each unit fulfils a function such as sleeping, sanitary, kitchen or office. 

Since 1995, the work has been located in the sculpture park of the Köller-Müller Museum in the Netherlands and therefore refers to being a hybrid between art and architecture, not only through its contradictory appearance.

The works of the Atelier Van Lieshout (Joep van Lieshout) often revolve around primitive or imaginative habitations. Most of them - whether architecture, fine arts or design - are produced in several copies in order to make them as accessible as possible. He even publishes step-by-step instructions for do-it-yourselfers who want to build their own works of art and furniture.

* Mobile Home for Kröller-Müller, Kröller-Müller Museum, 1995 © Atelier van Lieshout