Hi!, installation, 2022, for Site Visit at Museum Brandhorst, curated by Giampaolo Bianconi w/ Helin Alas, Haris Epaminonda, Madeline Hollander, Robert Keil, Johanna Klingler, Carolyn Lazard, Cameron Rowland
↪ txt Alien. Care. Wall by Lisa Jeschke

Objects of Request, 2022, bronze, spandex, series of 10 individual objects
Modeled in wax. /balls /knocker /heart /fist /spine /jaw /handle /vortex /heel. Made for knocking on the walls of institutions.

In Praise of the Dancing Bodies, 2022
with Paulina Nolte at Galerie Françoise Heitsch
↪ txt by Jan Erbelding

Flesh and Time and Bread and Friends, 2021 @ Galerie Christine Mayer, curated by Kristina Schmidt
w/ Helin Alas, Ciccio (Francesco Vizzini & Norman Chernick-Zeitlin), Ala Dehghan, Whitney Harris, Johanna Klingler, Paulina Nolte, Kristina Schmidt, Polina Tereshina, Maria VMier

Photos: Galerie Christine Mayer / Frank Stürmer

Untitled [Sappho], 2021, stamp on silk paper
intervention at a flower shop for Around the Block

Zungen, 2020, solo exhibition @ Artothek, Munich. Organized by Konstantin Lannert, Flyer by Stefanie Hammann.
↪ txt by Kristina Schmidt in PW Magazin.

Ruinous Times, 2020, "Radio Aktivität. Kollektive mit Sendungsbewusstsein" @ Lenbachhaus München (gloves by Leo Heinik, publications: Ruine München)

The Thing in the Ceiling Gives Me Orders, 2020, solo show @ BOAN Art space, Seoul, curated by Jae-Hyun Yoo.
"In her first solo exhibition in South Korea, Maria VMier shows works created during her 14-day quarantine in a hotel close to Incheon airport. In diary-like text fragments, a photo series and ink drawings, she questions the (her) role of the artist in the pandemic here and now, starting from the own body as a tool of knowledge." (Text: Jae-Hyun Yoo)

Zur Einsamkeit, 2020, bar w/ Jan Erbelding, during "This House is not a Home", @ Lothringer Halle 13, Munich
2 hosts, 3 guests per 1 hour, 2 drinks in glazed clay jars, 54 Post Corona Counseling Cards as vague starting point for conversations

Vier, 2019, Solo Show @ Gig Munich, 2019
↪ txt by Magdalena Wisniowska
more photos via tzvetnik.

„Der Amazonas brennt, It’s not fire it's capitalism, und der Regenwald ist keine Kathedrale, und in der Uckermark brennt's, weil die Feuerwehr mal wieder was zu tun braucht, sagt vielleicht der Mann, der uns die Brombeeren bei sich pflücken ließ. Meine Hände danach ganz pink gefärbt, meine Mundwinkel auch. Die Hitze, die Dornen, die Wespen, die Sonne. Der Rundgang durch den Garten wird klingen, riechen, schmecken, sich gut anfassen und ansehen lassen. Die einzelnen Orte und deren Vegetation und Details sind die Narration der Ausgangspunkt einer Geschichte, die keine ist, sondern Notizen aus der Zeit der Residency, in sich nicht geschlossen, lose Fäden von Gleichzeitigkeiten direkt an mir in mir um mich im Internet am Telefon in den Nachrichten und Feeds in Gesprächen und Gedanken meinen und andererseits Schlagzeilen und Fakten und Meinungen und Lügen und Vorstellungen alles durcheinander. Es soll ein Blick ins Detail gehen und dann wieder wegspringen in die Totale oder zumindest der Versuch in die Objektivität und die Relation, die Beziehung zur Welt. Es sind diese Bewegungen, denen ich folge und die ich im Zeichnen auf dem Papier vor mir ablege. Ich bin dann so Antenne und Verstärkerin und Lautsprecherin.“

Power Breather, 2019, groupshow @ Spouse Vienna, Vienna (AT). w/ Jan Erbelding, Leo Heinik, Maria VMier / Ruine München.

Ruine München, nomadic artist-run space and publication series, since 2017
As Ruine München, together with Leo Heinik and Jan Erbelding, I have been organizing a nomadic project space as exhibition, event, and publication series since 2017. Ruine München has a focus on experimental, performative, non-object-bound, or ephemeral artistic positions that are often only invited to art spaces as accompanying programs. For the artists we invite to work with us, Ruine München is a format in which they can define the appropriate framework conditions for their respective working methods themselves. We understand the Ruine as a nomadic artist-run off-space. This means that it usually takes place in changing public spaces, in parks, playgrounds, bars and art spaces in the city. Since we do not show objects, a small edition of an artist publication is published for each issue.

Chronologie der Ereignisse 2016-18 [körperlich verstehen], 2019, zine
4c Offset, stapled, 72 pages, 500 copies, English/German.
Published as part of Form Your Character! w/ Stefanie Hammann.

The zine's content was derived from events in the years 2016-18: starting with the American presidential elections, the debate about Dana Schutz's painting "Open Casket" during the Whitney Biennial 2017, and continuing with protests against the new police task force law and the state elections in Bavaria 2018. The events are cross- referenced with my research on politically active artists' groups of the 70s/80s in New York (Group Material/Julie Ault, Franklin Furnace/Martha Wilson...), current positions in New York (Hannah Black, Juliana Huxtable, Margaret Lee, Chinatown Art Brigade...) and Munich (Polizeiklasse, Anna McCarthy...) and further reading (White Walling by Aruna D'Zousa, Spricht die Subalterne Deutsch hrsg. by Encarnación Gutiérrez Rodríguez and Hito Steyerl…)

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Tableau 00 [Brooklyn 2018, ich lese mir aus der Hand], xerox on A 3, 2018

Manifest. We Are Dependent., Hammann von Mier, 2018
'Work process, negotiating context and reflecting on the conditions of production are as important to the artistic practice of Hammann von Mier as the final object in the exhibition space. The artist duo makes self-interrogation a central component of their work, posing questions to be perpetually revisited regarding their own role: about working conditions and the purpose and function of artists today, but also about how one can, and why one would want to work as an artist today at all. This type of practical theorizing is an intrinsic part of their work as artists and also explains the need for an artistic duo, which deals with communication, form and the structure of collaboration in their work. Hammann von Mier ignores certain demands of the contemporary art industry. They constantly transgress it rather than let it define or delimit their practice. Above all, this approach allows them the freedom to work at the border of applied arts in a variety of formats and diverse collaborative contexts.' (Anja Lückenkemper, 2017)

Hammann von Mier Verlag, since 2013
The publishing house emerged in 2013 from the collective Hammann von Mier (Stefanie Hammann & Maria VMier). We understand the publishing house as an extension of this practice to others. It is a self-oganized, independent, volunteer-run platform for artists at the beginning of their careers and has a focus on Munich artists. It was founded in the knowledge that it is difficult, especially at the beginning of one's career, to become visible and to get past the gatekeepers of the institutions. It was founded out of solidarity and our ongoing interest in the practice of other artists.
The books are regularly shown at international Art Book Fairs (e.g. Cologne Art Book Fair, Super Books Munich, New York Art Book Fair, L.A. Art Book Fair, FLAT Art Book Fair Turin and many more) and are part of collections and libraries, e.g. Thomas J. Watson Library at the Metropolitan Museum (NYC), Joan Flasch Artists' Book Collection (Chicago), Weserburg (Bremen).
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pause/play, Hammann von Mier, 2015, site specific installation/publication/video @ Academy of Fine Arts Munich
Interweaving of sulptural performance and graphical image development. A plastered and painted field in DIN A ratio serves as field of action and a mega layout space. Using their stock material Hammann von Mier develop new sculptural sets. The player on the field gives the impulse and choses the material, the other player on the gallery directs the image and documents it. A selection of these images was put into the format of a publication. During the exhibition the field stays empty. In the video piece Hammann von Mier are synchronously carrying out an always consistent series of hand movements referring to choreographies of mechanical production, an unreadable code. If an error occurs, the series has to be paused or re-started.

Hammann von Mier, collective, since 2013