Sprungturm, 2025 – Still on view at Niedersächsische Landesvertretung in Berlin.
Transforming a pedestal into a bent structure that appears to leap toward a the fence and fails — shifting attention from the figure to the conditions of visibility itself. Instead of equally presenting one of the golden figures, Sprungturm stages the failure of the platform meant to support one.
My piece 'Follow me Blindly' (2023-2025) is a machine that operates social media automatically by swiping an liking every post it encounters.
The arbitrariness of such performance transforms this activity into an indiscriminate work process. The lack of a human component corrupts the premise of every social media platform. Instead, the machine becomes a click worker, generating ‘interactions’ - a currency that grants user accounts more visibility.
As 'Follow me Blindly' is currently on display at Zebrastraat in Gent (BE), it swipes around 2km, liking around 1.500 posts every day.
this was my piece 'Lift' in 2024. Produced for 'Museümli' in Buchs (CH). Such a lovely and engaged team there, programming the 'tiniest museum of Switzerland' for many years. Thanks so much for having me back then.
Formerly, broken generators for mains in Buchs were repaired here, where this heavy manually operated crane monster lives under the ceiling. For 'Lift', I produced 100 of teddy bear barbells that the crane tried to lift. Just like a claw machine at fairs. You could also say, the crane's monstrosity was met with softness and community. And so his demonstration of power led to nothing. With those reflections on power, competition and radical softness, I was seeing the socially educated thing called 'manliness' discussed here.
Sealing the Fate, 2025
kinetic spatial installation, motorized doors, wireless control system
At the center of the work are the monumental doors of Kunsthaus Dahlem - a former site of Nazi-era state representation. Through cyclic, motor-driven movement, the doors shift from rigid instruments of control to autonomous agents. Positioned opposite each other, the doors move in synchrony - as if observing or mimicking one another.
With this piece I aimed to challenge the space’s authoritarian logic and rewrite its architectural gestures. Instead of sealing off, the doors oscillate rhythmically. A spatial critique of museal closure and an attempt to demusealize through mechanical choreography.
The context of competition around #karlschmidtrottluffstipendium was also relevant in conceiving this piece for @kunsthausdahlem
This sculptural artist's edition was created alongside the book release but has been majorly revised recently. It consists of standardized industrial containers placed on a cloud-like base – strapped down with belts like used in freight logistics.
What is being transported is not just content, but context: fragments of my artistic work during the exhibition Space Invader at @kunstverein_hannover that shifted between fields – performative, spatial, and documentary.
DM for requests.
Each edition includes:
🔸 models 3D-printed in resin
🔸 the book “Auf Montage”
🔸 a USB drive containing a time-lapse video of surveillance camera photos from the exhibition Space Invader
Edition of 20 + 2 AP
📘 “Auf Montage mit Lukas Zerbst”, published by @verlagkettler in English + German
Authors: Dr. Johannes Crückeberg, Philipp Lange, Aernout Mik, Inka Schube, Reem Shadid, Lukas Zerbst | Ed.: Studio Lukas Zerbst | Softcover, 176 pages | 12 × 19 cm, de/en | 978-3-98741-023-9 | October 2022
OPENING KABINETT | @lukaszerbst
Lukas Zerbst «Ein gutes Stück Flensen» Fragmente eines müden Körpers |
Saturday, 13 December, 11:00 – 15:00
On view: until end of February 2026
Film link in bio.
«Ein gutes Stück Flensen» presents 21 fragments of a sculpture that was once a single, six-metre body. Originally part of Müder Garten: an installation about exhaustion, stress, and the collapse of productivity. The work carried a dense skin of traces: weather, transport, storage, use. Later, on the weekly market in Bremerhaven, Lukas Zerbst cut the sculpture apart in front of an audience, weighed the pieces on a market scale, and labelled them like food staples. The neon-orange price tags, once assigning a cost per kilo of art - remain part of the work today.
At Galerie am Lindenplatz, the fragments now appear like lab samples, meat slices, material studies, or relics. They reveal a body pushed to its limits: from fatigue, to performative dissection, to framed artwork. «Ein gutes Stück Flensen» explores value, labour, and how an artwork is worn down, distributed, archived and reshaped by the economies of market, institution, and collection.
#artgallery #artexhibition #artlovers #modernart #abstractart #sculpture #painting #artinspires #galleryvisit #autumnvibes #newexhibition #artcollector
FEEDING at @kreuzbergpavillon .
public performance during the exhibition series GIGS. Curated by Heiko Pfreundt in cooperation with Lisa Schorm
guests experienced a kind of ritual healing from anonymisation by being delivered something that no one had ordered but everyone deserved.
with
Juan Corres Benito
Sylvana Seddig @sylvanaseddig
Jeanna Serikbayeva @jeannaserik
photos
Joe Clark @joeclark.photo
thank you
Lisa Schorm @lisasusanneschorm
Heiko Pfreundt @heikopfreundt
April 2024
'Einbahnstraße' ('one way street') at @staedtischegaleriebremen : two huge walls move around at glacial pace - creating new architectural constellations and alternating the paths one takes when passing through the room. 📸 by @franziska_von_den_driesch Part of #outofbodyexperience
