The exhibition “A Form of History” consists of photographic prints and sculptures whose nature is the result of recording of data taken from ‘”Historical Atlas” regarding the territorial changes in the last 150 years in some European countries,

photo of old building, that was taken during the transformation....

printed on both sides of paper

glass and fluo plastic

Provenance: Luisa Strina Gallery [with documentation]. Signed two times [1967 and 1985].

a dish with original drawing in majolia en glazed in gloss

The Last Riot suggests a battlefield with corpses and bloodshed. Not here, androgyne children/young adults carry their weapons but apparently just for show: they survive.

Fibre Bromide print of trees in the Australian Outback - experimental printing

Iconic design of Damian Hirst used by the Artist on the request on Supreme Skate Board Makers for a series of 5 boards.

From the ongoing series, "Seminars/Lectures," at the Dikeou Collection.

On abandoned planets and lost posts, on orbits around nothing: the giant green head and snowmen, the backpack and wheel people, the algae-covered, golden, sweating figures, the snaillike, insect-like, tightly-wound creatures from Marc Aschenbrenner's (born in Linz, Austria 1971) cosmos move within unstoried spaces. They are lonely. They feel, but their feelings are often unrecognizable. Every moment is a condition. Either they blindly fight against the violent acts that tear at them, or they surrender to the elements and float, swim, completely die in them. And sometimes, there is only breathing - as the sole sign of life and the expression of ultimate abandonment. Like an astronaut who glides through space and can only hear himself inhale and exhale in the all-encompassing silence. Marc Aschenbrenner studied painting; then experimented quite early with Super 8 film techniques and increasingly turned to video. Whether in film, performance or drawing, the artist asks first and foremost how a person becomes an image and a figure, i.e how a figure is created and disintegrates, how a symbiosis occurs with the space. "Formally, I try to work as simply as possible and remove the inessential" says the artist. The world as a creation of fools, the body as a marionette, claustrophobia and loneliness: Aschenbrenner's work expresses much more than simply a regressive, anti-modern impulse, more than mere existential philosophy. Here is a hint of the heretical life attitude of gnosis that already destroyed the original Christian church: the fundamental-dissident knowledge that one is in the world but not of it. The polemical claim that no loving god could have made the universe, but rather a demon. But that there is something of light in the human soul that has the stuff to take a stand against the world. Something that could spark the world. (Daniel Völzke)