3 Skulpturen je / 3 sculptures, each ca. Ø 1 m, H 2,8 m

Viereckige Stahlstäbe, geschweißt / Square steel bars, welded

2026

The work consists of three sculptures in the form of advertising columns. Their dimensions and proportions are based on their reallife counterparts, but reduced to their essential structure. What remains is a linear framework of welded steel bars.

In this work, image, surface, and message have been removed. The familiar form remains, but its function is gone. By reducing the structure to its bare framework, attention shifts from what is normally displayed to the act of displaying itself. The sculptures create space—physically through their open construction and conceptually through the absence of content.

The advertising column is an integral part of public space. By installing the sculptures outdoors, the work returns them to their original context while simultaneously taking away their function. While advertising columns normally attract visual attention, these remain empty.

Rather than offering direct criticism, the work opens up a space for reflection. Presence and absence are created in a new relationship.

Links:

www.eeeldar.com

instagram

3 Skulpturen je / 3 sculptures, each ca. Ø 1 m, H 2,8 m

Viereckige Stahlstäbe, geschweißt / Square steel bars, welded

2026

The work consists of three sculptures in the form of advertising columns. Their dimensions and proportions are based on their reallife counterparts, but reduced to their essential structure. What remains is a linear framework of welded steel bars.

In this work, image, surface, and message have been removed. The familiar form remains, but its function is gone. By reducing the structure to its bare framework, attention shifts from what is normally displayed to the act of displaying itself. The sculptures create space—physically through their open construction and conceptually through the absence of content.

The advertising column is an integral part of public space. By installing the sculptures outdoors, the work returns them to their original context while simultaneously taking away their function. While advertising columns normally attract visual attention, these remain empty.

Rather than offering direct criticism, the work opens up a space for reflection. Presence and absence are created in a new relationship.

Links:

www.eeeldar.com

instagram

3 Skulpturen je / 3 sculptures, each ca. Ø 1 m, H 2,8 m

Viereckige Stahlstäbe, geschweißt / Square steel bars, welded

2026

The work consists of three sculptures in the form of advertising columns. Their dimensions and proportions are based on their reallife counterparts, but reduced to their essential structure. What remains is a linear framework of welded steel bars.

In this work, image, surface, and message have been removed. The familiar form remains, but its function is gone. By reducing the structure to its bare framework, attention shifts from what is normally displayed to the act of displaying itself. The sculptures create space—physically through their open construction and conceptually through the absence of content.

The advertising column is an integral part of public space. By installing the sculptures outdoors, the work returns them to their original context while simultaneously taking away their function. While advertising columns normally attract visual attention, these remain empty.

Rather than offering direct criticism, the work opens up a space for reflection. Presence and absence are created in a new relationship.

Links:

www.eeeldar.com

instagram

3 Skulpturen je / 3 sculptures, each ca. Ø 1 m, H 2,8 m

Viereckige Stahlstäbe, geschweißt / Square steel bars, welded

2026

The work consists of three sculptures in the form of advertising columns. Their dimensions and proportions are based on their reallife counterparts, but reduced to their essential structure. What remains is a linear framework of welded steel bars.

In this work, image, surface, and message have been removed. The familiar form remains, but its function is gone. By reducing the structure to its bare framework, attention shifts from what is normally displayed to the act of displaying itself. The sculptures create space—physically through their open construction and conceptually through the absence of content.

The advertising column is an integral part of public space. By installing the sculptures outdoors, the work returns them to their original context while simultaneously taking away their function. While advertising columns normally attract visual attention, these remain empty.

Rather than offering direct criticism, the work opens up a space for reflection. Presence and absence are created in a new relationship.

Links:

www.eeeldar.com

instagram

3 Skulpturen je / 3 sculptures, each ca. Ø 1 m, H 2,8 m

Viereckige Stahlstäbe, geschweißt / Square steel bars, welded

2026

The work consists of three sculptures in the form of advertising columns. Their dimensions and proportions are based on their reallife counterparts, but reduced to their essential structure. What remains is a linear framework of welded steel bars.

In this work, image, surface, and message have been removed. The familiar form remains, but its function is gone. By reducing the structure to its bare framework, attention shifts from what is normally displayed to the act of displaying itself. The sculptures create space—physically through their open construction and conceptually through the absence of content.

The advertising column is an integral part of public space. By installing the sculptures outdoors, the work returns them to their original context while simultaneously taking away their function. While advertising columns normally attract visual attention, these remain empty.

Rather than offering direct criticism, the work opens up a space for reflection. Presence and absence are created in a new relationship.

Links:

www.eeeldar.com

instagram

3 Skulpturen je / 3 sculptures, each ca. Ø 1 m, H 2,8 m

Viereckige Stahlstäbe, geschweißt / Square steel bars, welded

2026

The work consists of three sculptures in the form of advertising columns. Their dimensions and proportions are based on their reallife counterparts, but reduced to their essential structure. What remains is a linear framework of welded steel bars.

In this work, image, surface, and message have been removed. The familiar form remains, but its function is gone. By reducing the structure to its bare framework, attention shifts from what is normally displayed to the act of displaying itself. The sculptures create space—physically through their open construction and conceptually through the absence of content.

The advertising column is an integral part of public space. By installing the sculptures outdoors, the work returns them to their original context while simultaneously taking away their function. While advertising columns normally attract visual attention, these remain empty.

Rather than offering direct criticism, the work opens up a space for reflection. Presence and absence are created in a new relationship.

Links:

www.eeeldar.com

instagram

3 Skulpturen je / 3 sculptures, each ca. Ø 1 m, H 2,8 m

Viereckige Stahlstäbe, geschweißt / Square steel bars, welded

2026

The work consists of three sculptures in the form of advertising columns. Their dimensions and proportions are based on their reallife counterparts, but reduced to their essential structure. What remains is a linear framework of welded steel bars.

In this work, image, surface, and message have been removed. The familiar form remains, but its function is gone. By reducing the structure to its bare framework, attention shifts from what is normally displayed to the act of displaying itself. The sculptures create space—physically through their open construction and conceptually through the absence of content.

The advertising column is an integral part of public space. By installing the sculptures outdoors, the work returns them to their original context while simultaneously taking away their function. While advertising columns normally attract visual attention, these remain empty.

Rather than offering direct criticism, the work opens up a space for reflection. Presence and absence are created in a new relationship.

Links:

www.eeeldar.com

instagram

3 Skulpturen je / 3 sculptures, each ca. Ø 1 m, H 2,8 m

Viereckige Stahlstäbe, geschweißt / Square steel bars, welded

2026

The work consists of three sculptures in the form of advertising columns. Their dimensions and proportions are based on their reallife counterparts, but reduced to their essential structure. What remains is a linear framework of welded steel bars.

In this work, image, surface, and message have been removed. The familiar form remains, but its function is gone. By reducing the structure to its bare framework, attention shifts from what is normally displayed to the act of displaying itself. The sculptures create space—physically through their open construction and conceptually through the absence of content.

The advertising column is an integral part of public space. By installing the sculptures outdoors, the work returns them to their original context while simultaneously taking away their function. While advertising columns normally attract visual attention, these remain empty.

Rather than offering direct criticism, the work opens up a space for reflection. Presence and absence are created in a new relationship.

Links:

www.eeeldar.com

instagram

3 Skulpturen je / 3 sculptures, each ca. Ø 1 m, H 2,8 m

Viereckige Stahlstäbe, geschweißt / Square steel bars, welded

2026

The work consists of three sculptures in the form of advertising columns. Their dimensions and proportions are based on their reallife counterparts, but reduced to their essential structure. What remains is a linear framework of welded steel bars.

In this work, image, surface, and message have been removed. The familiar form remains, but its function is gone. By reducing the structure to its bare framework, attention shifts from what is normally displayed to the act of displaying itself. The sculptures create space—physically through their open construction and conceptually through the absence of content.

The advertising column is an integral part of public space. By installing the sculptures outdoors, the work returns them to their original context while simultaneously taking away their function. While advertising columns normally attract visual attention, these remain empty.

Rather than offering direct criticism, the work opens up a space for reflection. Presence and absence are created in a new relationship.

Links:

www.eeeldar.com

instagram

Dieser Stein will erinnern. An die Menschlichkeit der Gefühle, an Trauer Leid und den Tod. Daran, dass München ein Produktions- und Entwicklungsort für Waffentechnologie ist. Maschinen, die den gewaltsamen Tod von Menschen erwirken. Was diese Maschinen anrichten wird von Menschen ertragen, betrauert, beweint, bereut und erinnert. 

Dieser Stein gedenkt den Maschinen, die das Bild der heutigen Kriege von denen der Vergangenheit unterscheidet. Glaubt man den Eigendarstellungen der Rüstungsfirmen auch das Bild zukünftiger bewaffneter Konflikte. 

Kriege sind zu Drohnenkämpfen geworden und Drohnen zu ihren Soldaten. Während die Technik/KI immer stärker mit menschlichen Attributen wie Intelligenz, Kreativität etc. betitelt und dadurch humanisiert wird, gibt der Mensch immer mehr Aufgaben und Entscheidungen ab. Dies passiert im Privaten, in der Arbeitswelt und auch im Militär, wo KI an Bedeutung in der Schlachtfeldanalyse, Logistik und Verwaltung gewinnt. 

Während die Ausführung militärischer Aufgaben in zunehmendem Maße automatisiert wird, verbleiben ihre Folgen bei Menschen, die immer als Leidtragende der Zerstörung bleiben werden. Die Wahrnehmung eines Krieges seitens Nicht-Betroffener ist oft abstrahiert und entmenschlicht. In Berichterstattungen dominieren menschenleere Ruinen und verwüstete Landschaften, die meistens durch Kriegsmaschinen wie Panzer „belebt“ werden. Auch soziale Medien zensieren Bilder, die menschliche Opfer – Verwundete und Tote – darstellen. Selbst wenn moralische Gründe hierfür triftig sein mögen (Persönlichkeitsrecht, Vermeidung traumatisierender Bilder und Inhalte), trägt es zu einer sterilen und daher verzerrten Wahrnehmung der Kriege bei.

Eine weitere Distanzierung erfahren Kriegsbilder durch das Format der Mediennutzung. In der ewigen Bilderflut von News-Feeds entfremden sich die Rezipienten dieser Bilder von der Tragik ihres Inhalts. Ein Bild vom “sauberen“ Krieg, maschinell ausgeführt, weit weg von menschlichen Berührungspunkten wäre den Rüstungskonzernen dienlich. Denn auf diese Art und Weise rückt der Mensch in den Hintergrund oder gerät ganz aus dem Blickfeld. 

Heute sitzen allerdings immer noch Menschen nahe Frontlinien, die Drohnen steuern und damit selbst zum Ziel feindlicher Drohnen werden. Schon bei ihnen sind Fragen nach der Verantwortung durch die Gamification ihrer Aufgaben getrübt,selbst wenn keine KI im Spiel ist. Wenn KI-basierte Drohnen ihren Piloten mehrere Hundert Ziele am Tag zur „Freigabe“ vorschlagen, stehen Fragen der Überforderung und des Automation Bias im Raum. Die Ausführung und Rezeption wird in die Sphäre des digitalen gedrängt, wird schwerer greifbar.

Ein weiteres Thema, das sich zwar unmittelbar mit menschlichen Verlusten befasst, und doch oft ins Abstrakte entweicht, ist das staatliche Gedenken der Kriegsgefallenen. Persönliche Trauer und Traumabewältigung von Angehörigen und Betroffenen ist schmerzhaft, immer individuell und langwierig. Staatliche Gedenkorte werden leider diesen Prozessen selten gerecht. Der Kult, der von einer staatlichen Seite aus um Kriegstote gesponnen wurde, war schon immer ideologisiert. Wer für sein Land in den Krieg zog und dort den Tod fand, wurde zum Helden erklärt. Der Heldentod ist die Zuspitzung dieser Vereinnahmung durch den Staat zu politischen Zwecken. Die Überhöhung der Gefallenen ist eine nachträgliche Rechtfertigung ihres gewaltsamen Todes. Gleichzeitig ist es eine Aufforderung an die Lebenden für ebendieses Schicksal bereit zu sein. Doch wie verhält sich diese für den Staat notwendige Sinnzuweisung, jemand sei „für“ etwas gestorben, wenn nun Maschinen für „uns“ kämpfen und als „unsere“ Verteidigunsgarantie beworben werden? Wie wird sich der politische Totenkult verändern, der sich in Gedenkstätten niederschlägt? Werden wir Maschinen mit ähnlichen Projektionen versehen wie menschliche Kriegsteilnehmende? Und wenn ja, wie würde eine solche Heroisierung aussehen? 

Sandstein, Messing 75x142x24cm

Der vollständige Text zur Arbeit ist als pdf-download auf der Unterseite Grünfläche vor der Akademie zu finden.