2020, Bio-Cornstarch-Packing-Chips, water, aluminum, stainless steel wire rope, 160 x 300 x 5 cm each, exhibited at LOBE Block in Berlin. 

Zeitfenster / cycle no. four 

2019, London, ply-wood, solid wooden ball, 193 x 61 x 16,2 cm, 1 : 1 replica of the sculpture Ball Drop by Walter De Maria wich was part of a series called Boxes For Meaningless Work.

According to the Gagosian the Estate of Walter de Maria forbids the interaction with all the objects shown in their exhibition, regardless of their original intention.
Exactly one week after the interactions with the replica in front of the gallery, three days after a group show in London in which this project was also presented and after multiple unanswered social media ‘reach-outs’, the Gagosian posted a video of them dropping the ball into the original sculpture.
This piece therefore becomes process art not only via its own inter- rogation of gallery practices but also through the documentation of the actions of the Gagosian itself.

Excerpt from Gagosian’s press release for the Idea to Action to Obtject exhibition in 2019 : “When it was originally shown at the 9 Great Jones Street gallery in 1963, the viewer was invited to take the ball and drop it through the top hole, causing a sharp bang. Here, however, the ball remains static, charged with potential energy, like the solid stainless-steel ball in 14-Sided Open Polygon (1984).”

Ball Drop

2020, 375 x 18 x 275 cm, 100 white plant based plastic bin bags, mini computer, code, electronic components, wood, wire. 

Created for CARESSER LES MURS at Studio A Paris, curated by Lou-Justin Tailhades and Christophe Delavault.

cycle no. six

2020, 2 columns each 18 x 18 x 330 cm, black plant based plastic, digital mixed flow fans, mini
computer, code, electronic components, wood

Exhibited in CARESSER LES MURS at Studio A in Paris curated by Lou-Justin
Tailhades and Christophe Delavault.

"In Cycle no. Three and Five Daniel Hölzl employs site-specific works with similar whimsical effect. Two inflatable pillars create an intervention to the space. The viewer is forced into cycles of waiting, expectancy and surprise as the pillars inflate and deflate but the binary nature of the pillars invite the questions–for which version of pillar are we waiting, and why? The presence of two tubes, which rise and fall sometimes out of sync, sometimes concurrently, also hint towards the duality of the viewer/viewed paradigm and its relative power dynamic. The use of plant based and recycled bin bags in the construction of the piece is a timely consideration of the materiality of plastic. Recontextualised within this piece, it allows us to evaluate how the reuse of materials can shift their narrative from simply linear to something more dynamic. It attempts to go beyond a simple exploration of temporality, but rather offers a varied insight to how we, as humans, relate to experiences which are bound or defined by temporal constraints." 
- Marc James Gough

cycle no. five 

2019, London, 100% recycled plastic bags, digital mixed flow fans, wood,electronic components, mini computers, code, two columns each 22 cm x 22cm x max. 342 cm

“In Cycle no. Three and Cycle no. Five Daniel Hölzl employs site-specific works with similar whimsical effect. Two inflatable pillars create an intervention to the space. The viewer is forced into cycles of waiting, expectancy and surprise as the pillars inflate and deflate but the binary nature of the pillars invite the questions–for which version of pillar are we waiting, and why? The presence of two tubes, which rise and fall sometimes out of sync, sometimes concurrently, also hint towards the duality of the viewer/viewed paradigm and its relative power dynamic. The use of plant based and recycled bin bags in the construction of the piece is a timely consideration of the materiality of plastic. Recontex- tualised within this piece, it allows us to evaluate how the reuse of materials can shift their narrative from simply linear to something more dynamic. It attempts to go beyond a simple exploration of temporality, but rather offers a varied insight to how we, as humans, relate to experiences which are bound or defined by temporal constraints.”
- Marc James Gough

cycle no. three

2019, Berlin, 100% recycled carbon fibre fleece, wood, electric motor, aluminum, electronic components, 2,2m x 0,4m x 20m

Cycle no. two uses 100% recycle carbon fiber fleece and an electronic motor to gradually divide the room throughout the exhibition in order to address the precari- ous impacts of charcoal and carbon on the environment. Examining those bilateral materials and their many usages.

This project was a critical reaction on a hanging charcoal installation, made for the same exhibition, by the German Artist Ulrike Moor. Both exhibited during the group show WECHSELRAUM at Mainblau Projektraum in Berlin.

cycle no. two

recycled carbon fiber, aluminum, paraffin wax, 80 x 110 x 5 cm, 2020 - ongoing series

Grounded no. three is part of an ongoing series of works, which poses questions about temporality, contrasting revolutionary technologies and materials, globalisation and how we occupy spaces of movement especially in times like these. Considering forms of transportation as well as the zeitgeist issues around pandemic mobility, the question apparent becomes: what and who stays grounded? 

Analogue photography of aeroplanes shot in 2018, which is then digitally scanned, edited and reframed, forms the basis for the monochrome paintings and underlines the dualities of this new body of work. Not only does this series inherit conceptual ideas from the installations cycle no. one (2018) and cycle no. two (2019), but it sources all its materials from the two same site specific works. By extending the new series, the former slowly but surely vanishes. 

The recycled carbon fiber from cycle no. two enters yet another phase and fuses with the melted wax from cycle no. one. Layer by layer, the hot wax is applied onto, what is initially, a fragile carbon fiber fabric, which bears marks from its previous use. Once cooled another labour intensive process begins, wherein the wax is remelted and, whilst strictly following the characteristics and contours of the now hardened carbon fiber canvas, the image is rendered by hand with a modified soldering iron. Line after line the wax is melted away again, but some lines are stopped instinctively creating a glitch-like effect. The final image, that of the plane detail, is created through a reverse process with a likeness to binary code, as equal value is given to both the negative and positive space. 

A true Hybrid. One of concepts, artworks and materials. 

grounded no. three

2018, 250cm x 180cm x 100cm, paraffin wax, aluminum, technical components, video

This piece was exhibited at the Rundgang 2018 exhibition of the Kunsthochschule Berlin Weißensee. Over the course of two exhibition days, one of the three wax modules was gradually melted from underneath an aluminum container, which can hold the exact same volume of wax in liquid form. The sculpture was accompanied by a video loop. Both question reality and materiality by revealing the cycle of potential form.

cycle no. one

recycled carbon fiber, aluminum, paraffin wax, 80 x 110 x 5 cm, 2020 - ongoing series

Grounded no. two is part of an ongoing series of works, which poses questions about temporality, contrasting revolutionary technologies and materials, globalisation and how we occupy spaces of movement especially in times like these. Considering forms of transportation as well as the zeitgeist issues around pandemic mobility, the question apparent becomes: what and who stays grounded? 

Analogue photography of aeroplanes shot in 2018, which is then digitally scanned, edited and reframed, forms the basis for the monochrome paintings and underlines the dualities of this new body of work. Not only does this series inherit conceptual ideas from the installations cycle no. one (2018) and cycle no. two (2019), but it sources all its materials from the two same site specific works. By extending the new series, the former slowly but surely vanishes. 

The recycled carbon fiber from cycle no. two enters yet another phase and fuses with the melted wax from cycle no. one. Layer by layer, the hot wax is applied onto, what is initially, a fragile carbon fiber fabric, which bears marks from its previous use. Once cooled another labour intensive process begins, wherein the wax is remelted and, whilst strictly following the characteristics and contours of the now hardened carbon fiber canvas, the image is rendered by hand with a modified soldering iron. Line after line the wax is melted away again, but some lines are stopped instinctively creating a glitch-like effect. The final image, that of the plane detail, is created through a reverse process with a likeness to binary code, as equal value is given to both the negative and positive space. 

A true Hybrid. One of concepts, artworks and materials. 

grounded no. two

2019, Berlin, 525 x 250 x 353 cm, woven nylon, blower motor, electrical compounds

For the work RUNDGANG which was presented at the annual end-of-year show of the same name, the interior of the room “Prüfungsamt” was precisely measured and rebuilt out of 96 square meters of ripstop nylon fabric. This empty nylon vessel was then inflated by an electric fan using the air from the very same room it represents, all the time being suspended from the office window. The ubiquitous Rundgang is a staple of the Germanic art school calendar — a yearly disruption and transformation of the making and administrative space into public exhibition. As a result of this piece, what was once a working environment loses its original function and all for the creation of another white cube. Both the colour of this sculpture and choice to occupy a room normally associated with examination hint towards a visual parodying of those sites in which art is often objectified. In the in-between space that is the artist/academic setting, RUNDGANG, inflating and deflating, encourages us to look differently at the architecture of the school setting and in doing so reassess the changeable and fragile function of the art academy.

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