Wretch Log Oinks (this one, group representative, slipped)



Wretch Log Oinks (this one, group representative, slipped), 2016
black linocut monoprint on a white longsleeve t-shirt (WrkngTtl,WrkngClths, 2016); galvanized steel, latex tubing, LED heel wheels, weight, synthetic hair, plaster, pantyhose, cowhide, velcro, straw, hay, full color laser print on adhesive foil on latex


micro celebrities, commissioned by Marcel Hiller

Gallery fiebach, minninger, Cologne

April 9 – May 14, 2016

with Dominique Hurth, Damaris Kerkhoff, K. H. Kjaerskov, Alwin Lay, Thomas Musehold, Nicolas Pelzer, Katrin Plavcak, Markus Saile, Max Schulze, Rebecca Stephany, Mathilda Terbuyken, Tillmann Terbuyken, Lily Wittenburg




Working Title, Working Clothes is an ongoing project investigating the artist’s body as the main site for creative self-exploitation, self-realization and identity production through the medium of fashion and the politics of display (of self), probing an associative working methodology of whisper and pixelation. As such and over the course of the past 10 months, WTWC has “mutated” from a series of prototypes to a collection of 12 unique, modified white long sleeves (Adore) to a performative activation of the clothes (Campaign) to an installation with inflatable latex objects (Copenhagen, …) to a series of sculptures-as-display and a bootleg of the original collection (Wretch Log Oinks).


The initial collection, WTWC (Adore), was set up as a pseudo-individualist uniform for the contemporary cultural producer. Its various material and graphic elements first emerged as a sort of digital spam and strange echo of my theoretical research and writing, interlacing my fragmented picture of identity production, radical responsiveness and economizing exhaustion: The imperative to self-perform was rendered to heat-responsive thermocromic ink, visualizing the wearer’s bodily stresses; the increasingly precarious conditions for cultural labor linked with the logo of the Dutch Hardcore techno scene (fragments of Holland Hardcore re-read as “Adore” or “Ha Ho”); issues of over-exposure and self-maximization mirrored in second skin latex fetish; the increasing “cuteification” of digital interfaces became a series of comical stick figures composed of 0 and 1 and the utopia of self-realization echoed in a collection of misspelled inspirational tattoos.


“… Rebecca Stephany articulates the human body as social model for branding its own identity, repurposing “Holland Hardcore”, the trademark of the Dutch hardcore techno scene, into working clothes for cultural producers – thus transcribing a kind of self-inflicted extreme bodily performance from the dancefloor to the workfloor, its attribute of style included. Fashion is set in parallel to the performed image online on one hand and its levels of stress on the other: A second skin encodes the self.”

(from “On View – interferences of digital and physical re-/ presentations”, Kunstverein Leipzig, 2015)