So: your art is somehow weird, but also not weirder than what we find outside the door. Or stranger than what’s inside. No funnier than middle-class apartments or something. It is peculiar art, peculiar motifs, although it is basically not peculiar as what you have in front of your nose in the public transport and on the sidewalk. Your art always has this weird perspective – and somehow the whole thing shakes so often. Which is not shaky or weird now than what is in our heads all the time. You just let it out. You find that with your art and map it. And then you have to face the facts. It’s hard and it can hurt. But it also liberates.
What else can I think of? You are increasingly radicalizing yourself, which I very much welcome. I think when you see your art, you understand that the madness that you thought came out of you actually got into you from outside. Or worse, you’re completely confused: are you or the world out there crazy? Or is the only crazy one this Timo Schuster?

Ah, for something like that you would probably have to go into form and concept and such. In short I would say you take a photo and uh … concept filmic … uh … difficult. How would you describe it?

Mara Recklies

The modern way of observing happens in fragments. It’s a process with an open end. In addition to fixed projects that are self-contained, the annual presentation is open to the complexity of reality and the infinite variety. always in search of. never finished.

2010 me asking beeple for his film instrumental video nine

clipped 2010


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