Peter Jap Lim

Groups

1997 - 2003

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Gallery for Contemporary Knitting
Eutropa
Kidnapping Europe
Museum for Evolving Art

Conceptual, process- and dialogue-oriented groups and projects that included exchange and sharing as compositional elements.

Formats that understood social platforms not as outcomes but as starting situations. In situational processes, we wanted to bring space and poetry into relation and movement with each other.

With medially open, connecting and binding actions, we sought entanglements and interweavings that formed dynamic structures and systems that offered openings and paths for changes of viewpoint and loops of reflection.

Gallery for Contemporary Knitting

1999 – 2001

with Susanne Joachim and Chris Richter

The Gallery for Contemporary Knitting was a group, a project, a place and an eleven-part photo series.

Over a period of two years, a sequence of dialogical exchanges took place between people of different generations.

Means of communication and objects of exchange were photographs and knitted accessories, e.g. hats, scarves or stockings.

Frau Salger, Galerie für Gegenwartsstricken, 2001

Images

Project history

In 1999 I visited knitting clubs in Kassel where I presented the project. Eleven participants of retirement age joined the project.

They knitted accessories such as hats, scarves, socks or gloves. We exchanged these for framed photos they had made themselves, with motifs of their choice from Kassel and the surrounding area.

In autumn we took portraits of the ladies: each in their living rooms and with the exchanged motif photographs in the background.

In December 2000 we opened a room for one week: the Gallery for Contemporary Knitting. During this time we presented and gave the photo portraits with the knitted objects to people around our age.

They now had firstly a knitting accessory and secondly a portrait of the person knitting it. The photo also showed a section of their homes and the photo with the desired motif that they had exchanged for the knitting accessory. They were now to receive a corresponding portrait photo of the younger participants.

In May 2001, we photographed them in their living rooms, dressed in the knitted objects, with the corresponding photographs of the ladies in the background.

We handed them the respective picture. They could see who was wearing their knitted object and cut out where their own portrait with their desired motif was hanging.

Some now had one or two knitted objects and a photo, the others had two photos.

Finally, we were allowed to take another portrait of the eleven knitting participants in the project, this time with their two framed photos in the background.

This is how the photo series Gallery for Contemporary Knitting came into being. It shows the protagonists of the project and the stages of the creation process.

Afterwards, we met with all the participants of the project for a round of coffee and cake and a presentation of the final photo series.

Eutropa

2001 – 2003

with Patricia Sevilla-Cordia

Continent, online travel guide, exhibition:
Paintings and drawings of fish and reptiles in coral reefs and tropical scrub

Website, online 2003 – 2005

Screenshots

20 artists chose a reptile or a fish from tropical regions in houses with aquariums and terrariums and donated their paintings to the respective houses for permanent exhibition. Photos for documentation and short accompanying texts by the artists were posted on the Eutropa website along with travel information about the location.

"Eutropa is a new continent emerging fragmented and distributed in Europe. Since the beginning of the millennium, an increasingly large public has become aware of this. With Eutropa as an exhibition project, an online travel guide is being created for this new continent, which is ideally suited as a destination in terms of culture, climate and landscape. The travel guide is also the exhibition catalogue of the Eutropa-wide exhibition."

Kidnapping Europe

2001 – 2003

with Christina Clar

In an exchange about migration history(s), we wanted to open up our own space of ideas about migration, which we felt was constricted, and engage in dialogue. About how narrative forms develop, how ideas about migration change and can be interpreted differently all the time. About how information, knowledge, judgements, dreams move with us, change with us, profanely, poetically. Several years and many enriching journeys, researches, conversations later, we were able to realise two of four previously planned realisations, an installation space with visual, auditory, mental impressions in Los Angeles and a compilation with music for the project.

2003
- three months residency at Raid Projects, Los Angeles:
Interviews, city walks (see also Walking and Drawing), exhibition
- spatial installation Turning Dreams and Shifting Harbors
at the L.A. International art festival, Los Angeles, U.S.A.
- Turning Dreams and Shifting Harbors, music compilation
collaboration with the label: beaurivage
- Running Rooms, Sticking Alley
at Recyclart, Brussels, Belgium
Space installation, release concert of the music CD

Turning Dreams and Shifting Harbors

Raid Projects, Los Angeles, 2003

During the three months of the residency at Raid Projects in Los Angeles, we conducted interviews with migrants about their migration stories. We asked them about their dreams and visions before, during and after their migration, including at the time of the interviews. Recordings of this were inserted into a spatial installation as sound. The installation included drawings that I made on city walks during the residency (see also City Walks, Los Angeles).

Turning Dreams and Shifting Harbours, Exhibition at Raid Projects, Los Angeles, 2003

Installation views

Museum for Evolving Art (MEA)

1997 – 2003

with Tilly Henselleck, Susanne Joachim, Christoph Liebig, Jens Kloppmann, Manuela Osterburg, Katja van Osterhout, Rena Rädle, Kathleen Rahn, Matthias Weidmann

Dialogue sculpture

In our stagings, we conceptually included dialogical actions, treating them like objects as compositional elements. In this way, we also understood the museum for emerging art sculpturally.

An architecture for the MEA

Kulturbahnhof Kassel, 2000
Cassellastraße, Frankfurt a.M, 1999

Images

We couldn't decide what an architecture for the MEA should look like. And so we launched an architectural competition. Those who took part were able to present their own ideas in a joint exhibition and catalogue.

Beforehand, there was a two-week series of lectures in Frankfurt a.M., where questions about an architecture for the imaginary institution, about non-material as well as material art and architecture were discussed and reflected on experimentally in workshops.

Intermezzo IV

Book Fair Leipzig, 2000
Museum herb garden

Images

The stand was designed as a barren cell. We offered herb seeds for a museum garden. From these, the MEA's herb garden grew spread out in unknown directions.

missing fields

Fridericianum Kassel, 1999
Dialogue and orientation

Images

The astronomical terms revolution and rotation with the planet names of our solar system were written on the entrance wall, a compass rotated continuously in the middle of the room. 180 postcard-sized entries hung across two walls: Pictures from friends and acquaintances of MEA of what they were missing or would be arriving next.

Intermezzo III

Book Fair Frankfurt, 1999
Fishing for compliments

Images

A video with an angler was running at the stand, while we were out and about at the fair with a box full of compliments.

Intermezzo II

Künstlerhaus Stuttgart, at Phase 4, 1998
Warrants

Images

By means of a test, we were able to prove that our visitors had an above-average capacity for inspiration. We also offered warrants for the purchase of an edition copy. A year later, this was a documentary photo with the avatars of the buyers of the warrants. It showed how we set off with them for new shores.

Intermezzo I

Kulturbahnhof Kassel, 1998
Beginnings

Images

In an empty shop we invited to the first exchange with the MEA – about something that can never be finished. In the station hall we installed large seat cushions with recordings of exhibitions and other art events.

Exhibitions / Projects

2003
– Treppenaufsatz (Staircase essay), installations for DisSimile – Prospections of young European art, Kunsthalle Baden-Baden
2002
– Zwischenstop (Stopover), installation for the symposium Gegen das Warten, Stadtgalerie Bern
2001
– Romance, installation of a virtual artwork on Mars, mars-patent.org
2000
– Eine Architektur für das Museum für werdende Kunst (An Architecture for the Museum for Evolving Art), Kulturbahnhof Kassel, exhibition, lectures, catalogue
– Intermezzo IV, Leipzig Book Fair
– missing fields at My world is not enough, Fridericianum Kassel
– soup theory at Ufo-Strategies, Edith-Ruß-Haus, Oldenburg
1999
– Intermezzo III, Fishing for Compliments, Book Fair Frankfurt a.M.
– First Edition, HAUS, Kassel
1998
– Intermezzo II, at Phase 4, Künstlerhaus, Stuttgart
– Intermezzo I, Kulturbahnhof Kassel
– Eine Architektur für das Museum für werdende Kunst (An Architecture for the Museum of Emerging Art), Lecture series, workshops and exhibition, Frankfurt a.M.

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