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- [H1] PROJECTS\n\tINFO\n\tUPCOMING\n\tCONTACT\n","content_no_html":"\n\tPROJECTS\n\tINFO\n\tUPCOMING\n\tCONTACT\n","content_partial_html":"\n\tPROJECTS\n\tINFO\n\tUPCOMING\n\tCONTACT\n","thumb":"","thumb_meta":{"thumbnail_crop":null},"thumb_is_visible":false,"sort":1,"index":0,"set_id":0,"page_options":{"using_local_css":false,"local_css":"[local-style=\"34582600\"] .container_width {\n}\n\n[local-style=\"34582600\"] body {\n\tbackground-color: initial \/*!variable_defaults*\/;\n}\n\n[local-style=\"34582600\"] .backdrop {\n}\n\n[local-style=\"34582600\"] .page {\n}\n\n[local-style=\"34582600\"] .page_background {\n\tbackground-color: initial \/*!page_container_bgcolor*\/;\n}\n\n[local-style=\"34582600\"] .content_padding {\n}\n\n[data-predefined-style=\"true\"] [local-style=\"34582600\"] bodycopy {\n}\n\n[data-predefined-style=\"true\"] [local-style=\"34582600\"] bodycopy a {\n}\n\n[data-predefined-style=\"true\"] [local-style=\"34582600\"] bodycopy a:hover {\n}\n\n[data-predefined-style=\"true\"] [local-style=\"34582600\"] h1 {\n}\n\n[data-predefined-style=\"true\"] [local-style=\"34582600\"] h1 a {\n}\n\n[data-predefined-style=\"true\"] [local-style=\"34582600\"] h1 a:hover {\n}\n\n[data-predefined-style=\"true\"] [local-style=\"34582600\"] h2 {\n}\n\n[data-predefined-style=\"true\"] [local-style=\"34582600\"] h2 a {\n}\n\n[data-predefined-style=\"true\"] [local-style=\"34582600\"] h2 a:hover {\n}\n\n[data-predefined-style=\"true\"] [local-style=\"34582600\"] small {\n}\n\n[data-predefined-style=\"true\"] [local-style=\"34582600\"] small a {\n}\n\n[data-predefined-style=\"true\"] [local-style=\"34582600\"] small a:hover {\n}","local_layout_options":{"split_layout":false,"split_responsive":false,"full_height":false,"advanced_padding_enabled":false,"page_container_bgcolor":"","show_local_thumbs":false,"page_bgcolor":""},"pin_options":{"position":"top","overlay":true,"accommodate":true,"fixed":true,"exclude_mobile":false},"svg_overlay":"\n \n \n \n \n","svg_fonts":{}},"set_open":false,"images":[],"backdrop":null},{"id":35190214,"site_id":2046846,"project_url":"PROJECTS","direct_link":"https:\/\/leorothmoser.de\/PROJECTS","type":"page","title":"PROJECTS","title_no_html":"PROJECTS","tags":"","display":true,"pin":false,"pin_options":null,"in_nav":false,"is_homepage":false,"backdrop_enabled":false,"is_set":false,"stack":false,"excerpt":"CONFLICTS (ONGOING)\n\nLeonhard Rothmoser's drawings make do with just a few strokes. His figures have pointed...","content":"\n\t\n\t\n\t\n\t\n\n\t\n\n\n\t\n\n\t\n\n\n\t\n\n\n\n\t\n\n\n\t\n\n\t\n\n\n\t\n\n\n\n\t\n\n\n\n\t\n\n\tCONFLICTS (ONGOING)\nLeonhard Rothmoser's drawings make do with just a few strokes. His figures have pointed noses, uniform bodies and offer plenty of room for identification. The genderless and faceless figures can be found in a wide variety of scenarios in Rothmoser's works. They hold each other tightly, look at or past each other, are close and yet distant. Without facial expressions and with discreet body language, they negotiate conflicts, whether with themselves or others remains unclear.\n\nFor his solo exhibition \"Conflicts (Ongoing)\", Leonhard Rothmoser is showing prints and monotypes from the last two years. At the heart of the exhibition is the series of works \"I am your new idea and you will not like me\", created during his residency at the Frans Masereel Center in Antwerp. During his stay, Rothmoser developed a combination of analog and digital print templates, from which he combined individual monotypes. The title of the series can be found as fragmentary lettering on the works, sometimes overlapped by colored areas or only fragmentarily legible. Not only text, but also graphic elements appear repeatedly in the pictures. \"I am your new idea and you will not like me\" tells the story of a personal dilemma that most people will be familiar with. When we have an exact idea of something, it can be very difficult to realize and turn away from this idea. People tend to hold on to something, to literally cling to the idea, even if this idea does not materialize and it is time to let go.\n\nRothmoser succeeds in capturing these inner and outer conflicts on a two-dimensional level. The personal confrontation is also reflected in the individual compositions of the monotypes. The artist repeatedly recombines the two-dimensional stencils, placing forms, colors and graphics in a new relationship and thus creating tension in the pictorial structure. Peppered with humorous accents, the artist fans out a range of feelings and sensations. In doing so, he puts his finger in the wound and uses a reduced, pictorial vocabulary to create impressive images of ongoing conflicts that haunt us in everyday life.\n\n\nMonotype prints 2022\u20132024, gallery Vonform, munich, 2024Text: Julia Anna Wittmann\n\n\n\n\n\t\n\n\t\n\n\n\t\n\t\n\n\n \n\n\n\n\n\n\t\n \n \n\t\n\n\n\n\n\n\t\n\n \n \n \n \n\t\n\n\n\t\n\n\n\n\n\n\tSUCCESSFULLY UNREALISEDEvery project, no matter what size, is preceded by a phase of design and planning. In this phase, reality takes a backseat for a moment and a temporary space is created in which everything seems possible. This state of limbo stands in its innocence and magic in contrast to the reality of realised projects and their inevitable collateral damage for both their environment and creator. The installation relates to this state of affairs and deals with the urge to realise that is inherent in all of us. With an light shaft the installation connects the internal space with the outdoor space and creates an film set like situation for am moment of contemplation.The Projecting Station was an installation realized in a former farm building in the outskirts of munich using materials found on-site. The farm was used by the Kunstverein M\u00fcnchen as a residency. Many national and international artists worked temporarily on and with the space. The host and owner of the site was the real estate developer Euroboden, which was planning and promoting a dazzling development of the site at the time. A short time later, the project was abandoned and Euroboden filed for bankruptcy. The site was demolished and sold on.\nAn intervention aimed at connecting the internal space with the exterior space. Installation made of plywood, styrofoam, unfired clay, \nSpace Called Lucky at Peripheral Alliances, Residency Programm of Kunstverein M\u00fcnchen, 2021\n\t\n\n\n \n \n \n\n \n \n \n \n\t\n\n\n\t\n\t\n \n\n \n \n \n \n \n \n\t\n\n\n\t\n\n \n \n \n\t\n\n\n\t\n\n\n\n\n\n\n\n \n \n\tIF THAT BLUE COULD STAY FOREVER[\u2026] Apocalypse, Happy End and Tomorrow are the striking headings of the three panels, each with a comment line at the bottom edge of the picture in white. In a separate, white room, the triptych leans down demandingly towards its audience. Thinking about the hopelessness of the future can make you dizzy. It\u2018s a good thing that the perspective seems predetermined and the urgency of the themes oscillates between the dramatic and the everyday. The work forces the viewer to step back and understand it in its subjective, humorous wholeness. Is ambivalence triumphing over hopelessness here? There is definitely a happy ending, just not as soon as hoped. [\u2026] \nScreen prints on glass, each 60 x 80 cm, metal straps, group exhibition with Roman H\u00e4bler and Daniel Wimmer, Kunst im Quartier, Hamburg 2022Text: Antonia Mahler\n\n\n\t\n\t\n \n\n \n \n \n \n\t\n\n\t\n\t\n \n \n\n\n\n\n\n \n\n\n\n\t\n\n\n\t\n\n\n\n \n\n\t\n\n\n\t\n\n\n\n \n \n \n\t\n\n\n\n\n\t\n\n\n \n \n\tTECHNICAL SOLUTION FOR EMOTIONAL ISSUESDriven by the suspicion that the hull could be better than the substance and the question how it\u2019s possible to react with technical and material answers on human needs, this is an ongoing project developing transportation systems for different tasks connected to my requirements and delusions of requirements. This box contains one framed print from 2016 with drawings. \n6mm Poplar plywood, glue, nailes, 140cm x 100cmAtelierhaus Baumstra\u00dfe, 2021\n\t\n\t\n \n \n\t\n\n\n\t\n\t\n \n \n \n \n \n \n \n \n \n\t\n\n\n\t\n\n\n\n \n \n \n\t\n\n\n\n\n\t\n\n\n\n\n \n \n\t\n\n\n\n\n\n\n\n\t\n\n \n \n \n \n \n \n\t\n \n \n \n EXTENTION OF A THOUGHTFor one day, two opposing mirrors were used to extend a 30-meter-long abandoned railway track seemingly to infinity. This railway track represented the last remaining segment of a long-vanished line. The reason why this part of the rails was preserved is it's situation on a bridge, making it difficult to dismantle. The bridge no longer serves its original purpose and only functions as a shortcut for animals and as a hang out for kids, serving as a starting point for experimental activities.In a megalomaniacal undertaking, like carrying a boat over a mountain, these huge mirrors were now positioned at this location for a moment and precisely aligned across from each other. The existing space expands, and suddenly it is not entirely clear where the reflection begins and where it ends. For moments the railway track appears to run again perfectly straight again towards the north and south, but its end is indiscernible, tinted with a bluish hue from light diffraction. The project resulted in a publication that documents the research, preparation, and execution of the installation. \nTemporary installation in public space, munich, 2015\nPublication\n\t\n\n\t\n\t\n \n\n\n\n\n\n\n \n\t\n\n\n\t\n\t\n\n \n\n\n\n \n \n\t\n\n\n\n\t\n\n\n\n\n\n\t\n\n\n\n\t\n\n\n\n\t\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\t\n\n\n\n\tBETWEEN THE BREAKS\nIn the symphony of human existence, the pauses between the notes often hold the key to a deeper understanding of our nature. Consider the moments between the breaks \u2013 those subtle interludes where actions momentarily cease, where the rhythm of life takes a breath before plunging back into the melody of busyness. \nIn the digital age, we are accustomed to appreciating metadata, the data about data, to glean insights into patterns, behaviors, and connections. Similarly, contemplating the \"meta-moments\" between our actions offers a different perspective on the human experience. Just as metadata provides a contextual backdrop to information, analyzing the intervals between actions provides a broader context for understanding the intricacies of our existence. \nArtistbook, 2016\u20132023\n\n\n\t\n\n \n\n\n\n \n\n \n\t\n\n\n\t\n\n \n\n \n\n \n\n \n\t\n\n\n\n\t\n\n\n\n \n \n\t\n\n\n\t\n\t\n\n\n \n\n\t\nPROJECTING AGESo-called projects are a widespread way of realising ideas, solving problems and fulfilling wishes. A requirement for a project is an idea, if necessary just motivation is enough. In 1697 Daniel Defoe published \u201aAn Essay on Projects\u2018. In this he prophesies the \u201aprojecting age\u2018, deals with the emerging type of project maker and presents 12 detailed suggestions for improving the social situation. A good 300 years later we are still, or more than ever, in the projecting age. Almost anything can be explained as a project and they have become emblematic of human attempts to approach the problems and peculiarities of his existence. \nTwelve ideas and observations in the form of drawings about the process of making projects for the advancement award of the city of Munich.\nTwelve screen prints on glass, each 80x60 cm, Lothringer13 Halle, 2020Right: \u2018An Essay on Projects\u2018, Daniel Defoe, 1697\n\t\n\n\n\t\n\t\n \n \n\t\n\n\t\n\t\n \n \n\t\n\n\n\t\n\t\n \n \n\t\n\n\t\n\t\n\n\t\n \n \n \n \n\n\n\n\n\n\n\n\n\n \n \n \n \n \n\t\n\n\n\t\n\n\n\t\n\n\n\t\n\n \n \n \n\t\n\n\n\t\n\n\n\t\n\n\n\t\n\n \n \n\t\n\n\n\t\n\n\n\n \n \n \n\tMENSCHEN \u2013 EIN TIERFILM\nSequences entirely captured using trail cameras, documenting individuals in their natural habitat. The usual use of trail cameras is to capture more or less wild animals and prove their existence in the area. In more densely populated areas, it is less a question of proving their existence than of observing man in his no longer entirely natural environment and observing unadulterated moments of self-forgetfulness of a species characterized by great activity. The filmed sequences explore the question of whether it\u2018s feasible to observe oneself from an external perspective.\nInstallation with loop in randomly repeated sequence, 2020\n\t\n\n \n \n\n \n \n \n \n\t\n\n\n\t\n\t\n \n \n \n\t\n\n\t\n\t\n \n \n\t\n\n\t\n\t\n \n \n\t\n\n\t\n\t\n \n \n\t\n\n\t\n\t\n \n \n\t\n\n\t\n\t\n \n \n\t\n\n\t\n\t","content_no_html":"\n\t\n\t\n\t\n\t\n\n\t\n\n\n\t\n\n\t\n{image 155 no-zoom=\"true\"}\n\n\t\n{image 154 no-zoom=\"true\"}\n\n\n\t\n{image 157 no-zoom=\"true\"}\n\n\t\n\n\t\n{image 151 no-zoom=\"true\"}\n\n\t\n{image 161 no-zoom=\"true\"}\n\n\n\t\n{image 156 no-zoom=\"true\"}\n\n\n\t\n\n\tCONFLICTS (ONGOING)\nLeonhard Rothmoser's drawings make do with just a few strokes. His figures have pointed noses, uniform bodies and offer plenty of room for identification. The genderless and faceless figures can be found in a wide variety of scenarios in Rothmoser's works. They hold each other tightly, look at or past each other, are close and yet distant. Without facial expressions and with discreet body language, they negotiate conflicts, whether with themselves or others remains unclear.\n\nFor his solo exhibition \"Conflicts (Ongoing)\", Leonhard Rothmoser is showing prints and monotypes from the last two years. At the heart of the exhibition is the series of works \"I am your new idea and you will not like me\", created during his residency at the Frans Masereel Center in Antwerp. During his stay, Rothmoser developed a combination of analog and digital print templates, from which he combined individual monotypes. The title of the series can be found as fragmentary lettering on the works, sometimes overlapped by colored areas or only fragmentarily legible. Not only text, but also graphic elements appear repeatedly in the pictures. \"I am your new idea and you will not like me\" tells the story of a personal dilemma that most people will be familiar with. When we have an exact idea of something, it can be very difficult to realize and turn away from this idea. People tend to hold on to something, to literally cling to the idea, even if this idea does not materialize and it is time to let go.\n\nRothmoser succeeds in capturing these inner and outer conflicts on a two-dimensional level. The personal confrontation is also reflected in the individual compositions of the monotypes. The artist repeatedly recombines the two-dimensional stencils, placing forms, colors and graphics in a new relationship and thus creating tension in the pictorial structure. Peppered with humorous accents, the artist fans out a range of feelings and sensations. In doing so, he puts his finger in the wound and uses a reduced, pictorial vocabulary to create impressive images of ongoing conflicts that haunt us in everyday life.\n\n\nMonotype prints 2022\u20132024, gallery Vonform, munich, 2024Text: Julia Anna Wittmann\n\n\n\n\n\t\n\n\t\n\n\n\t\n\t\n\n\n \n\n\n\n\n\n\t\n \n \n\t\n{image 1 no-zoom=\"true\"}\n{image 2 no-zoom=\"true\"}\n{image 3 no-zoom=\"true\"}\n{image 4 no-zoom=\"true\"}\n\n\t{image 147 scale=\"96\" no-zoom}\n\n \n \n \n \n\t\n{image 6 no-zoom=\"true\"}\n\n\t\n{image 10 no-zoom=\"true\"}\n{image 9 no-zoom=\"true\"}\n{image 11 no-zoom=\"true\"}\n\n\n\tSUCCESSFULLY UNREALISEDEvery project, no matter what size, is preceded by a phase of design and planning. In this phase, reality takes a backseat for a moment and a temporary space is created in which everything seems possible. This state of limbo stands in its innocence and magic in contrast to the reality of realised projects and their inevitable collateral damage for both their environment and creator. The installation relates to this state of affairs and deals with the urge to realise that is inherent in all of us. With an light shaft the installation connects the internal space with the outdoor space and creates an film set like situation for am moment of contemplation.The Projecting Station was an installation realized in a former farm building in the outskirts of munich using materials found on-site. The farm was used by the Kunstverein M\u00fcnchen as a residency. Many national and international artists worked temporarily on and with the space. The host and owner of the site was the real estate developer Euroboden, which was planning and promoting a dazzling development of the site at the time. A short time later, the project was abandoned and Euroboden filed for bankruptcy. The site was demolished and sold on.\nAn intervention aimed at connecting the internal space with the exterior space. Installation made of plywood, styrofoam, unfired clay, \nSpace Called Lucky at Peripheral Alliances, Residency Programm of Kunstverein M\u00fcnchen, 2021\n\t\n\n\n \n \n \n\n \n \n \n \n\t\n\n\n\t\n\t\n \n\n \n \n \n \n \n \n\t\n{image 100 no-zoom=\"true\"}\n\n\t\n\n \n \n \n\t\n{image 32 no-zoom=\"true\"}\n\n\t\n{image 104 no-zoom=\"true\"}\n{image 103 no-zoom=\"true\"}\n{image 34 no-zoom=\"true\"}\n{image 101 no-zoom=\"true\"}\n{image 102 no-zoom=\"true\"}\n\n\n \n \n\tIF THAT BLUE COULD STAY FOREVER[\u2026] Apocalypse, Happy End and Tomorrow are the striking headings of the three panels, each with a comment line at the bottom edge of the picture in white. In a separate, white room, the triptych leans down demandingly towards its audience. Thinking about the hopelessness of the future can make you dizzy. It\u2018s a good thing that the perspective seems predetermined and the urgency of the themes oscillates between the dramatic and the everyday. The work forces the viewer to step back and understand it in its subjective, humorous wholeness. Is ambivalence triumphing over hopelessness here? There is definitely a happy ending, just not as soon as hoped. [\u2026] \nScreen prints on glass, each 60 x 80 cm, metal straps, group exhibition with Roman H\u00e4bler and Daniel Wimmer, Kunst im Quartier, Hamburg 2022Text: Antonia Mahler\n\n\n\t\n\t\n \n\n \n \n \n \n\t\n\n\t\n\t\n \n \n\n\n\n\n\n \n\n\n\n\t\n{image 52 no-zoom=\"true\"}\n\n\t\n{image 54 no-zoom=\"true\"}\n\n\n \n\n\t\n{image 53 no-zoom=\"true\"}\n\n\t\n{image 55 no-zoom=\"true\"}\n\n\n \n \n \n\t\n{image 58 no-zoom=\"true\"}\n{image 160 no-zoom=\"true\"}\n{image 158 no-zoom=\"true\"}\n\n\t\n\n\n \n \n\tTECHNICAL SOLUTION FOR EMOTIONAL ISSUESDriven by the suspicion that the hull could be better than the substance and the question how it\u2019s possible to react with technical and material answers on human needs, this is an ongoing project developing transportation systems for different tasks connected to my requirements and delusions of requirements. This box contains one framed print from 2016 with drawings. \n6mm Poplar plywood, glue, nailes, 140cm x 100cmAtelierhaus Baumstra\u00dfe, 2021\n\t\n\t\n \n \n\t\n\n\n\t\n\t\n \n \n \n \n \n \n \n \n \n\t\n{image 19 no-zoom=\"true\"}\n\n\t\n{image 94 no-zoom=\"true\"}\n\n\n \n \n \n\t\n\n{image 69 no-zoom=\"true\"}\n\n\n\t\n{image 71 no-zoom=\"true\"}\n\n\n\n \n \n\t\n{image 87 no-zoom=\"true\"}\n{image 88 no-zoom=\"true\"}\n{image 90 no-zoom=\"true\"}\n{image 91 no-zoom=\"true\"}\n{image 89 no-zoom=\"true\"}\n{image 86 no-zoom=\"true\"}\n\n\t\n\n \n \n \n \n \n \n\t\n \n \n \n EXTENTION OF A THOUGHTFor one day, two opposing mirrors were used to extend a 30-meter-long abandoned railway track seemingly to infinity. This railway track represented the last remaining segment of a long-vanished line. The reason why this part of the rails was preserved is it's situation on a bridge, making it difficult to dismantle. The bridge no longer serves its original purpose and only functions as a shortcut for animals and as a hang out for kids, serving as a starting point for experimental activities.In a megalomaniacal undertaking, like carrying a boat over a mountain, these huge mirrors were now positioned at this location for a moment and precisely aligned across from each other. The existing space expands, and suddenly it is not entirely clear where the reflection begins and where it ends. For moments the railway track appears to run again perfectly straight again towards the north and south, but its end is indiscernible, tinted with a bluish hue from light diffraction. The project resulted in a publication that documents the research, preparation, and execution of the installation. \nTemporary installation in public space, munich, 2015\nPublication\n\t\n\n\t\n\t\n \n\n\n\n\n\n\n \n\t\n\n\n\t\n\t\n\n \n\n\n\n \n \n\t\n{image 106 no-zoom=\"true\"}\n\n\n\t\n{image 112 no-zoom=\"true\"}\n\n\n\n\n\t\n{image 114 no-zoom=\"true\"}\n\n\n\t\n{image 109 no-zoom=\"true\"}\n\n\n\t\n{image 167 no-zoom=\"true\"}\n{image 168 no-zoom=\"true\"}\n{image 169 no-zoom=\"true\"}\n{image 170 no-zoom=\"true\"}\n{image 171 no-zoom=\"true\"}\n{image 173 no-zoom=\"true\"}\n{image 179 no-zoom=\"true\"}\n{image 175 no-zoom=\"true\"}\n{image 176 no-zoom=\"true\"}\n{image 178 no-zoom=\"true\"}\n{image 177 no-zoom=\"true\"}\n{image 172 no-zoom=\"true\"}\n{image 180 no-zoom=\"true\"}\n\n\n\t\n\n\n\n\tBETWEEN THE BREAKS\nIn the symphony of human existence, the pauses between the notes often hold the key to a deeper understanding of our nature. Consider the moments between the breaks \u2013 those subtle interludes where actions momentarily cease, where the rhythm of life takes a breath before plunging back into the melody of busyness. \nIn the digital age, we are accustomed to appreciating metadata, the data about data, to glean insights into patterns, behaviors, and connections. Similarly, contemplating the \"meta-moments\" between our actions offers a different perspective on the human experience. Just as metadata provides a contextual backdrop to information, analyzing the intervals between actions provides a broader context for understanding the intricacies of our existence. \nArtistbook, 2016\u20132023\n\n\n\t\n\n \n\n\n\n \n\n \n\t\n\n\n\t\n\n \n\n \n\n \n\n \n\t\n{image 17 no-zoom=\"true\"}\n\n\n\t\n{image 98 no-zoom=\"true\"}\n\n\n \n \n\t\n{image 99 no-zoom=\"true\"}\n\n\t\n\t\n\n\n \n\n\t\nPROJECTING AGESo-called projects are a widespread way of realising ideas, solving problems and fulfilling wishes. A requirement for a project is an idea, if necessary just motivation is enough. In 1697 Daniel Defoe published \u201aAn Essay on Projects\u2018. In this he prophesies the \u201aprojecting age\u2018, deals with the emerging type of project maker and presents 12 detailed suggestions for improving the social situation. A good 300 years later we are still, or more than ever, in the projecting age. Almost anything can be explained as a project and they have become emblematic of human attempts to approach the problems and peculiarities of his existence. \nTwelve ideas and observations in the form of drawings about the process of making projects for the advancement award of the city of Munich.\nTwelve screen prints on glass, each 80x60 cm, Lothringer13 Halle, 2020Right: \u2018An Essay on Projects\u2018, Daniel Defoe, 1697\n\t{image 16 scale=\"21\" no-zoom icon-mode}\n\n\n\t\n\t\n \n \n\t\n\n\t\n\t\n \n \n\t\n\n\n\t\n\t\n \n \n\t\n\n\t\n\t\n\n\t\n \n \n \n \n\n\n\n\n\n\n\n\n\n \n \n \n \n \n\t\n{image 183 no-zoom=\"true\"}\n\n\t\n{image 48 no-zoom=\"true\"}\n\n\t\n{image 45 no-zoom=\"true\"}\n\n\t\n\n \n \n \n\t\n{image 47 no-zoom=\"true\"}\n\n\t\n{image 50 no-zoom=\"true\"}\n\n\t\n{image 105 no-zoom=\"true\"}\n\n\t\n\n \n \n\t\n{image 184 no-zoom=\"true\"}\n\n\t\n{image 185 scale=\"86\" no-zoom}\n\n\n \n \n \n\tMENSCHEN \u2013 EIN TIERFILM\nSequences entirely captured using trail cameras, documenting individuals in their natural habitat. The usual use of trail cameras is to capture more or less wild animals and prove their existence in the area. In more densely populated areas, it is less a question of proving their existence than of observing man in his no longer entirely natural environment and observing unadulterated moments of self-forgetfulness of a species characterized by great activity. The filmed sequences explore the question of whether it\u2018s feasible to observe oneself from an external perspective.\nInstallation with loop in randomly repeated sequence, 2020\n\t\n\n \n \n\n \n \n \n \n\t\n\n\n\t\n\t\n \n \n \n\t\n\n\t\n\t\n \n \n\t\n\n\t\n\t\n \n \n\t\n\n\t\n\t\n \n \n\t\n\n\t\n\t\n \n \n\t\n\n\t\n\t\n \n \n\t\n\n\t\n\t","content_partial_html":"\n\t\n\t\n\t\n\t\n\n\t\n\n\n\t\n\n\t\n\n\n\t\n\n\n\n\t\n\n\n\t\n\n\t\n\n\n\t\n\n\n\n\t\n\n\n\n\t\n\n\tCONFLICTS (ONGOING)\nLeonhard Rothmoser's drawings make do with just a few strokes. His figures have pointed noses, uniform bodies and offer plenty of room for identification. The genderless and faceless figures can be found in a wide variety of scenarios in Rothmoser's works. They hold each other tightly, look at or past each other, are close and yet distant. Without facial expressions and with discreet body language, they negotiate conflicts, whether with themselves or others remains unclear.\n\nFor his solo exhibition \"Conflicts (Ongoing)\", Leonhard Rothmoser is showing prints and monotypes from the last two years. At the heart of the exhibition is the series of works \"I am your new idea and you will not like me\", created during his residency at the Frans Masereel Center in Antwerp. During his stay, Rothmoser developed a combination of analog and digital print templates, from which he combined individual monotypes. The title of the series can be found as fragmentary lettering on the works, sometimes overlapped by colored areas or only fragmentarily legible. Not only text, but also graphic elements appear repeatedly in the pictures. \"I am your new idea and you will not like me\" tells the story of a personal dilemma that most people will be familiar with. When we have an exact idea of something, it can be very difficult to realize and turn away from this idea. People tend to hold on to something, to literally cling to the idea, even if this idea does not materialize and it is time to let go.\n\nRothmoser succeeds in capturing these inner and outer conflicts on a two-dimensional level. The personal confrontation is also reflected in the individual compositions of the monotypes. The artist repeatedly recombines the two-dimensional stencils, placing forms, colors and graphics in a new relationship and thus creating tension in the pictorial structure. Peppered with humorous accents, the artist fans out a range of feelings and sensations. In doing so, he puts his finger in the wound and uses a reduced, pictorial vocabulary to create impressive images of ongoing conflicts that haunt us in everyday life.\n\n\nMonotype prints 2022\u20132024, gallery Vonform, munich, 2024Text: Julia Anna Wittmann\n\n\n\n\n\t\n\n\t\n\n\n\t\n\t\n\n\n \n\n\n\n\n\n\t\n \n \n\t\n\n\n\n\n\n\t\n\n \n \n \n \n\t\n\n\n\t\n\n\n\n\n\n\tSUCCESSFULLY UNREALISEDEvery project, no matter what size, is preceded by a phase of design and planning. In this phase, reality takes a backseat for a moment and a temporary space is created in which everything seems possible. This state of limbo stands in its innocence and magic in contrast to the reality of realised projects and their inevitable collateral damage for both their environment and creator. The installation relates to this state of affairs and deals with the urge to realise that is inherent in all of us. With an light shaft the installation connects the internal space with the outdoor space and creates an film set like situation for am moment of contemplation.The Projecting Station was an installation realized in a former farm building in the outskirts of munich using materials found on-site. The farm was used by the Kunstverein M\u00fcnchen as a residency. Many national and international artists worked temporarily on and with the space. The host and owner of the site was the real estate developer Euroboden, which was planning and promoting a dazzling development of the site at the time. A short time later, the project was abandoned and Euroboden filed for bankruptcy. The site was demolished and sold on.\nAn intervention aimed at connecting the internal space with the exterior space. Installation made of plywood, styrofoam, unfired clay, \nSpace Called Lucky at Peripheral Alliances, Residency Programm of Kunstverein M\u00fcnchen, 2021\n\t\n\n\n \n \n \n\n \n \n \n \n\t\n\n\n\t\n\t\n \n\n \n \n \n \n \n \n\t\n\n\n\t\n\n \n \n \n\t\n\n\n\t\n\n\n\n\n\n\n\n \n \n\tIF THAT BLUE COULD STAY FOREVER[\u2026] Apocalypse, Happy End and Tomorrow are the striking headings of the three panels, each with a comment line at the bottom edge of the picture in white. In a separate, white room, the triptych leans down demandingly towards its audience. Thinking about the hopelessness of the future can make you dizzy. It\u2018s a good thing that the perspective seems predetermined and the urgency of the themes oscillates between the dramatic and the everyday. The work forces the viewer to step back and understand it in its subjective, humorous wholeness. Is ambivalence triumphing over hopelessness here? There is definitely a happy ending, just not as soon as hoped. [\u2026] \nScreen prints on glass, each 60 x 80 cm, metal straps, group exhibition with Roman H\u00e4bler and Daniel Wimmer, Kunst im Quartier, Hamburg 2022Text: Antonia Mahler\n\n\n\t\n\t\n \n\n \n \n \n \n\t\n\n\t\n\t\n \n \n\n\n\n\n\n \n\n\n\n\t\n\n\n\t\n\n\n\n \n\n\t\n\n\n\t\n\n\n\n \n \n \n\t\n\n\n\n\n\t\n\n\n \n \n\tTECHNICAL SOLUTION FOR EMOTIONAL ISSUESDriven by the suspicion that the hull could be better than the substance and the question how it\u2019s possible to react with technical and material answers on human needs, this is an ongoing project developing transportation systems for different tasks connected to my requirements and delusions of requirements. This box contains one framed print from 2016 with drawings. \n6mm Poplar plywood, glue, nailes, 140cm x 100cmAtelierhaus Baumstra\u00dfe, 2021\n\t\n\t\n \n \n\t\n\n\n\t\n\t\n \n \n \n \n \n \n \n \n \n\t\n\n\n\t\n\n\n\n \n \n \n\t\n\n\n\n\n\t\n\n\n\n\n \n \n\t\n\n\n\n\n\n\n\n\t\n\n \n \n \n \n \n \n\t\n \n \n \n EXTENTION OF A THOUGHTFor one day, two opposing mirrors were used to extend a 30-meter-long abandoned railway track seemingly to infinity. This railway track represented the last remaining segment of a long-vanished line. The reason why this part of the rails was preserved is it's situation on a bridge, making it difficult to dismantle. The bridge no longer serves its original purpose and only functions as a shortcut for animals and as a hang out for kids, serving as a starting point for experimental activities.In a megalomaniacal undertaking, like carrying a boat over a mountain, these huge mirrors were now positioned at this location for a moment and precisely aligned across from each other. The existing space expands, and suddenly it is not entirely clear where the reflection begins and where it ends. For moments the railway track appears to run again perfectly straight again towards the north and south, but its end is indiscernible, tinted with a bluish hue from light diffraction. The project resulted in a publication that documents the research, preparation, and execution of the installation. \nTemporary installation in public space, munich, 2015\nPublication\n\t\n\n\t\n\t\n \n\n\n\n\n\n\n \n\t\n\n\n\t\n\t\n\n \n\n\n\n \n \n\t\n\n\n\n\t\n\n\n\n\n\n\t\n\n\n\n\t\n\n\n\n\t\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\t\n\n\n\n\tBETWEEN THE BREAKS\nIn the symphony of human existence, the pauses between the notes often hold the key to a deeper understanding of our nature. Consider the moments between the breaks \u2013 those subtle interludes where actions momentarily cease, where the rhythm of life takes a breath before plunging back into the melody of busyness. \nIn the digital age, we are accustomed to appreciating metadata, the data about data, to glean insights into patterns, behaviors, and connections. Similarly, contemplating the \"meta-moments\" between our actions offers a different perspective on the human experience. Just as metadata provides a contextual backdrop to information, analyzing the intervals between actions provides a broader context for understanding the intricacies of our existence. \nArtistbook, 2016\u20132023\n\n\n\t\n\n \n\n\n\n \n\n \n\t\n\n\n\t\n\n \n\n \n\n \n\n \n\t\n\n\n\n\t\n\n\n\n \n \n\t\n\n\n\t\n\t\n\n\n \n\n\t\nPROJECTING AGESo-called projects are a widespread way of realising ideas, solving problems and fulfilling wishes. A requirement for a project is an idea, if necessary just motivation is enough. In 1697 Daniel Defoe published \u201aAn Essay on Projects\u2018. In this he prophesies the \u201aprojecting age\u2018, deals with the emerging type of project maker and presents 12 detailed suggestions for improving the social situation. A good 300 years later we are still, or more than ever, in the projecting age. Almost anything can be explained as a project and they have become emblematic of human attempts to approach the problems and peculiarities of his existence. \nTwelve ideas and observations in the form of drawings about the process of making projects for the advancement award of the city of Munich.\nTwelve screen prints on glass, each 80x60 cm, Lothringer13 Halle, 2020Right: \u2018An Essay on Projects\u2018, Daniel Defoe, 1697\n\t\n\n\n\t\n\t\n \n \n\t\n\n\t\n\t\n \n \n\t\n\n\n\t\n\t\n \n \n\t\n\n\t\n\t\n\n\t\n \n \n \n \n\n\n\n\n\n\n\n\n\n \n \n \n \n \n\t\n\n\n\t\n\n\n\t\n\n\n\t\n\n \n \n \n\t\n\n\n\t\n\n\n\t\n\n\n\t\n\n \n \n\t\n\n\n\t\n\n\n\n \n \n \n\tMENSCHEN \u2013 EIN TIERFILM\nSequences entirely captured using trail cameras, documenting individuals in their natural habitat. The usual use of trail cameras is to capture more or less wild animals and prove their existence in the area. 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Your options are: "+f.join(", "));this.callbacks[t].push({callback:o,isOne:e||!1})},off:function(t,i){if(!this.callbacks[t])throw new Error("Tried to remove a scroll monitor listener of type "+t+". Your options are: "+f.join(", "));for(var o,e=0;o=this.callbacks[t][e];e++)if(o.callback===i){this.callbacks[t].splice(e,1);break}},one:function(t,i){this.on(t,i,!0)},recalculateSize:function(){this.height=this.watchItem.offsetHeight+this.offsets.top+this.offsets.bottom,this.bottom=this.top+this.height},update:function(){this.isAboveViewport=this.toph.viewportBottom,this.isInViewport=this.top=h.viewportTop,this.isFullyInViewport=this.top>=h.viewportTop&&this.bottom ︎ PROJECTS
- [H1] INFO
- [H1] CONTACT
- [H2] CONFLICTS (ONGOING) Leonhard Rothmoser's drawings make do with just a few strokes. His figures have pointed noses, uniform bodies and offer plenty of room for identification. The genderless and faceless figures can be found in a wide variety of scenarios in Rothmoser's works. They hold each other tightly, look at or past each other, are close and yet distant. Without facial expressions and with discreet body language, they negotiate conflicts, whether with themselves or others remains unclear. For his solo exhibition "Conflicts (Ongoing)", Leonhard Rothmoser is showing prints and monotypes from the last two years. At the heart of the exhibition is the series of works "I am your new idea and you will not like me", created during his residency at the Frans Masereel Center in Antwerp. During his stay, Rothmoser developed a combination of analog and digital print templates, from which he combined individual monotypes. The title of the series can be found as fragmentary lettering on the works, sometimes overlapped by colored areas or only fragmentarily legible. Not only text, but also graphic elements appear repeatedly in the pictures. "I am your new idea and you will not like me" tells the story of a personal dilemma that most people will be familiar with. When we have an exact idea of something, it can be very difficult to realize and turn away from this idea. People tend to hold on to something, to literally cling to the idea, even if this idea does not materialize and it is time to let go. Rothmoser succeeds in capturing these inner and outer conflicts on a two-dimensional level. The personal confrontation is also reflected in the individual compositions of the monotypes. The artist repeatedly recombines the two-dimensional stencils, placing forms, colors and graphics in a new relationship and thus creating tension in the pictorial structure. Peppered with humorous accents, the artist fans out a range of feelings and sensations. In doing so, he puts his finger in the wound and uses a reduced, pictorial vocabulary to create impressive images of ongoing conflicts that haunt us in everyday life. Monotype prints 2022–2024, gallery Vonform, munich, 2024
- [H2] Text: Julia Anna Wittmann
- [H2] SUCCESSFULLY UNREALISEDEvery project, no matter what size, is preceded by a phase of design and planning. In this phase, reality takes a backseat for a moment and a temporary space is created in which everything seems possible. This state of limbo stands in its innocence and magic in contrast to the reality of realised projects and their inevitable collateral damage for both their environment and creator. The installation relates to this state of affairs and deals with the urge to realise that is inherent in all of us. With an light shaft the installation connects the internal space with the outdoor space and creates an film set like situation for am moment of contemplation.The Projecting Station was an installation realized in a former farm building in the outskirts of munich using materials found on-site. The farm was used by the Kunstverein München as a residency. Many national and international artists worked temporarily on and with the space. The host and owner of the site was the real estate developer Euroboden, which was planning and promoting a dazzling development of the site at the time. A short time later, the project was abandoned and Euroboden filed for bankruptcy. The site was demolished and sold on. An intervention aimed at connecting the internal space with the exterior space. Installation made of plywood, styrofoam, unfired clay, Space Called Lucky at Peripheral Alliances, Residency Programm of Kunstverein München, 2021
- [H2] IF THAT BLUE COULD STAY FOREVER[…] Apocalypse, Happy End and Tomorrow are the striking headings of the three panels, each with a comment line at the bottom edge of the picture in white. In a separate, white room, the triptych leans down demandingly towards its audience. Thinking about the hopelessness of the future can make you dizzy. It‘s a good thing that the perspective seems predetermined and the urgency of the themes oscillates between the dramatic and the everyday. The work forces the viewer to step back and understand it in its subjective, humorous wholeness. Is ambivalence triumphing over hopelessness here? There is definitely a happy ending, just not as soon as hoped. […] Screen prints on glass, each 60 x 80 cm, metal straps, group exhibition with Roman Häbler and Daniel Wimmer, Kunst im Quartier, Hamburg 2022
- [H2] Text: Antonia Mahler
- [H2] TECHNICAL SOLUTION FOR EMOTIONAL ISSUESDriven by the suspicion that the hull could be better than the substance and the question how it’s possible to react with technical and material answers on human needs, this is an ongoing project developing transportation systems for different tasks connected to my requirements and delusions of requirements. This box contains one framed print from 2016 with drawings. 6mm Poplar plywood, glue, nailes, 140cm x 100cmAtelierhaus Baumstraße, 2021
- [H2] EXTENTION OF A THOUGHTFor one day, two opposing mirrors were used to extend a 30-meter-long abandoned railway track seemingly to infinity. This railway track represented the last remaining segment of a long-vanished line. The reason why this part of the rails was preserved is it's situation on a bridge, making it difficult to dismantle. The bridge no longer serves its original purpose and only functions as a shortcut for animals and as a hang out for kids, serving as a starting point for experimental activities.In a megalomaniacal undertaking, like carrying a boat over a mountain, these huge mirrors were now positioned at this location for a moment and precisely aligned across from each other. The existing space expands, and suddenly it is not entirely clear where the reflection begins and where it ends. For moments the railway track appears to run again perfectly straight again towards the north and south, but its end is indiscernible, tinted with a bluish hue from light diffraction. The project resulted in a publication that documents the research, preparation, and execution of the installation. Temporary installation in public space, munich, 2015 Publication
- [H2] BETWEEN THE BREAKS In the symphony of human existence, the pauses between the notes often hold the key to a deeper understanding of our nature. Consider the moments between the breaks – those subtle interludes where actions momentarily cease, where the rhythm of life takes a breath before plunging back into the melody of busyness. In the digital age, we are accustomed to appreciating metadata, the data about data, to glean insights into patterns, behaviors, and connections. Similarly, contemplating the "meta-moments" between our actions offers a different perspective on the human experience. Just as metadata provides a contextual backdrop to information, analyzing the intervals between actions provides a broader context for understanding the intricacies of our existence. Artistbook, 2016–2023
- [H2] PROJECTING AGESo-called projects are a widespread way of realising ideas, solving problems and fulfilling wishes. A requirement for a project is an idea, if necessary just motivation is enough. In 1697 Daniel Defoe published ‚An Essay on Projects‘. In this he prophesies the ‚projecting age‘, deals with the emerging type of project maker and presents 12 detailed suggestions for improving the social situation. A good 300 years later we are still, or more than ever, in the projecting age. Almost anything can be explained as a project and they have become emblematic of human attempts to approach the problems and peculiarities of his existence. Twelve ideas and observations in the form of drawings about the process of making projects for the advancement award of the city of Munich. Twelve screen prints on glass, each 80x60 cm, Lothringer13 Halle, 2020Right: ‘An Essay on Projects‘, Daniel Defoe, 1697
- [H2] MENSCHEN – EIN TIERFILM Sequences entirely captured using trail cameras, documenting individuals in their natural habitat. The usual use of trail cameras is to capture more or less wild animals and prove their existence in the area. In more densely populated areas, it is less a question of proving their existence than of observing man in his no longer entirely natural environment and observing unadulterated moments of self-forgetfulness of a species characterized by great activity. The filmed sequences explore the question of whether it‘s feasible to observe oneself from an external perspective. Installation with loop in randomly repeated sequence, 2020
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URL Rewrite
leorothmoser.de verwendet lesbare URL-Strukturen. Das ist ein Vorteil für Navigation, Teilen von Links und die schnelle thematische Einordnung einzelner Seiten.
Underscores in the URLs
leorothmoser.de enthält URLs mit Unterstrichen. Eine Umstellung auf Bindestriche kann die Trennung einzelner Begriffe deutlicher machen.
SEO Suchbegriffe
Die Suchbegriffsauswertung zeigt, welche Themen die Seite tatsächlich vermittelt und ob wichtige Begriffe in Inhalt und Seitenelementen konsistent vorkommen.
Suchbegriffswolke
installation space between idea from project like conflicts existence projects
Keywords Consistency
| Suchbegriff | Inhalt | Seitentitel | Suchbegriffe | Seitenbeschreibung | Überschriften |
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| space | 9 |  |
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| idea | 7 | |
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| from | 7 | |
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| project | 7 | |
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| installation | 7 | |
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Benutzerfreundlichkeit
Gute Benutzerfreundlichkeit stärkt Vertrauen und erleichtert die Nutzung. Geprüft werden unter anderem URL, Favicon, Sprache und Druckdarstellung.
URL
Domain : leorothmoser.de
Länge : 15
Favoriten Icon
leorothmoser.de stellt ein Favicon bereit. Dieses kleine Symbol verbessert Wiedererkennung in Browser-Tabs, Lesezeichen und Suchergebnisumgebungen.
Druckeigenschaften
Für leorothmoser.de wurden keine speziellen Druck-CSS-Angaben gefunden. Eigene Print-Styles können helfen, Navigation, Farben und Layout beim Drucken sinnvoll zu reduzieren.
Sprache
leorothmoser.de deklariert die Sprache als en. Das hilft Browsern, Suchmaschinen und Hilfstechnologien bei Aussprache, Darstellung und regionaler Einordnung.
Dublin Core
Bei leorothmoser.de wurden keine Dublin-Core-Elemente gefunden. Das ist nicht für jede Website zwingend, kann aber bei dokumentenartigen oder redaktionellen Inhalten nützlich sein.
Dokument
Sauberes HTML, eine korrekte Zeichencodierung und moderne Standards verbessern Kompatibilität, Zugänglichkeit und die zuverlässige Verarbeitung der Seite.
Doctype
HTML 5
Verschlüsselung
Der Zeichensatz von leorothmoser.de ist angegeben: UTF-8. Dadurch sinkt das Risiko fehlerhafter Zeichenanzeige in Browsern und Auswertungssystemen.
W3C Validität
Fehler : 0
Warnungen : 0
E-Mail Datenschutz
Auf leorothmoser.de wurde keine E-Mail-Adresse im Klartext erkannt. Das reduziert das Risiko, dass Adressen automatisch gesammelt und für Spam missbraucht werden.
Veraltetes HTML
leorothmoser.de verwendet keine überholten HTML-Tags in den geprüften Inhalten. Das spricht für eine zeitgemäße technische Basis.
Tipps zur Webseitengeschwindigkeit
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Bei leorothmoser.de wurden keine verschachtelten Tabellen erkannt. Das ist positiv für sauberes Markup und responsive Gestaltung. |
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leorothmoser.de nutzt CSS direkt in HTML-Elementen. Eine Auslagerung in CSS-Dateien kann den Quelltext übersichtlicher und besser wartbar machen. |
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leorothmoser.de verwendet mit 1 CSS-Dateien eine überschaubare Stylesheet-Struktur. Das kann Ladezeit und Wartung positiv beeinflussen. |
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Die JavaScript-Anzahl von leorothmoser.de ist unauffällig. Eine schlanke Skriptstruktur hilft besonders auf mobilen Geräten. |
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leorothmoser.de nutzt gzip-Komprimierung. Dadurch können HTML, CSS und JavaScript kleiner übertragen werden, was die Ladezeit verbessern kann. |
Mobile
Mobile Optimierung ist wichtig, weil viele Besucher Smartphones nutzen. Viewport, Icons und ungeeignete Technologien beeinflussen Darstellung und Bedienbarkeit.
Mobile Optimierung
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Apple Icon |
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META Viewport Tag |
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Flash Inhalt |
Optimierung
Sitemap, robots.txt, Komprimierung und Analysesysteme beeinflussen, wie effizient eine Website gecrawlt, ausgeliefert und gezielt weiterentwickelt werden kann.
XML-Sitemap
Eine XML-Sitemap ist für leorothmoser.de vorhanden. Sie unterstützt Crawler dabei, die Seitenstruktur effizienter zu verstehen.
| https://leorothmoser.de/sitemap.xml |
Robots.txt
http://leorothmoser.de/robots.txt
leorothmoser.de enthält eine robots.txt-Datei. Damit lassen sich Crawler-Regeln und der Hinweis auf die Sitemap zentral steuern.
Analytics
Fehlt
Für leorothmoser.de wurde kein Analyse-Tool erkannt. Ohne Webanalyse bleibt schwer nachvollziehbar, wie Besucher die Seite tatsächlich nutzen.
PageSpeed Insights
PageSpeed Insights bewertet Leistung, Barrierefreiheit, bewährte Verfahren und SEO für Desktop und Mobilgeräte und macht technische Bremsen sichtbar.
Gerät
Kategorien
Website-Überprüfung
Website-Überprüfung ist ein kostenloses SEO Werkzeug zur Analyse Ihrer Webseite