• 2018

• Reading Simone Forti, Handbook in Motion, 1974, 360 min

  Körperarbeit, Kunsthalle der Sparkasse Leipzig, Leipzig

  Performance, 360 min, charcoal on paper, 150 cm x 180 cm

  

• Talk about Sculpture and Choreography

  Körperarbeit, Kunsthalle der Sparkasse Leipzig, Leipzig

  Talk with Mariella Greil, 45 min, charcoal on paper, 150 cm x 180 cm

  

• Marrakesh Conversation

  Noss Noss, Le 18, Marrakesh

  Talk with Claude Horstmann, Soukaina Joual, Ghita Skali und Katrin Ströbel

  

• Two Feet Seven Inches

  Power Plant, Kunsthal Nord, Aalborg, Denmark

  Performative sculptures with Sara Grotenfelt, Antonia Harke, Mikkel Mallow, Julia Müllner, Copenhagen / Aalborg

  

• BUSK

  Power Plant, Kunsthalle Nord, Aalborg

  Full HD, Loop, 11 min, branches / concept and performance: Stella Geppert, camera and editing: Per Henriksen / support: Nordjyllandsværket

  

• Augenblicksverknüpfung, Punkt emotionaler Dichte

  Tangency, Osnabrück

  A performance in public space by Stella Geppert in cooperation with
  Kirstin Flüssmeyer, Lukas Geschwind, Michelle Lui, Birte Opitz and Agnes Nguyen / support: Flüssmeyer Vermessungen

  

• 2017

• Ten Scores for a Sculpture

  Performance Night on Drawing and Choreography, Haus am Lützowplatz, Berlin

  A Performance by Stella Geppert in cooperation with Jan Burkhardt, Lukas Geschwind, Kathleen Heil, Michelle Lui, Hilla Steinert

  

• 2016

• Another Kind Of Documentation

  Idiopolis, Dialectics between subject and society, State Of Concept, Athens

  ceramic, tripod photo

  

• Athens Conversation

  Idiopolis, Dialectics between subject and society, State Of Concept, Athens

  elastic ligaments, silicon, paper tub, charcoal on canvas, 206 × 310 cm

  

• Reading Robert Morris, Notes on Sculpture, 1967

  Openstudio, Berlin

  charcoal on paper, 150 cm x 150 cm

  

• Hieroglyphendecke

  studio view, Berlin

  Steel, screws, roll of paper, carbon, plastic, silicon, ribbons, drawings
  Dimension 300 cm x 300 cm x 215 cm

  

• Move 7: 42 min after – Feuille de vigne femelle – by Marcel Duchamp

  Never Shown on Purpose, CIRCLE1 Gallery, Berlin

  galvanized plaster, 2013 / 2016, (7 cm x 12 cm x 14 cm)

  

• 2014

• Arbusti

  Moving Studies & Homeopathic Interventions, Venice

  Homeopathic Interventions 01 / Full HD, Loop, 10 min / Branches, cable clip / Direction / Film Editing: Stella Geppert / Camera Operator: Melanie Brugger / Sound: Wladimir Gelwich / Support: Centro Tedesco Di Studi Veneziani

  

• Buongiorno - You Are Welcome!

  Moving Studies & Homeopathic Interventions, Venice

  Moving Studies 01 / Full HD, Loop, 14 min / Direction / Film Editing: Stella Geppert / Camera Operator: Melanie Brugger / Sound: Wladimir Gelwich / Support: Centro Tedesco Di Studi Veneziani / Direzione Polizia Municipale del Comune di Venezia and Giorgia Cavagnin, Marco Romanello

  

• 2013 / 2014

• Sandalo

  Studio, Berlin

  Sandals, engraved

  

• 2012

• Der Apfel, der bei Frau Stubbe auf dem Schreibtisch lag // Dreh der Libellen 2 x 2

  Ab in die Ecke, group exhibition curated by Annett Reckert, Galerie Delmenhorst, Delmenhorst

  Apple // wooden slats, libera (plastic), adhesive tape, lacquer. Two wooden slats are bent horizontally and vertically.

  

• Tribüne

  Public Gallery, Halle, Germany

  Grocery store without windows being vacant for a long time / In cooperation with Elisabeth Decker, Nora Läkamp, Gregor Müller, Franziska Stübgen / … bis das Chamäleon sichtbar wird, move.foreward, Werkleitz Festival, 2012

  

• One–Zero–One

  Undercover Sculptures, kjubh e.V., Cologne

  Shoes, acrylic glass, wood panel.

  

• Égalité

  Undercover Sculptures, kjubh e.V., Cologne

  The bubble levels of old water-levels have been installed into used wooden bars with different origins. The wooden bars are adjusted rightly, when all bubble levels are balanced.

  

• 2011

• Cross-Links

  Senatsreservenspeicher (Artitude e.V.), Berlin

  Cross-Links is an allover Installation, in which I interlinked 42 pre-extant openings (f.ex. that of a silo, broken window panes, drill holes, cracks …) across structures to create relations to place that are architecturally inconceivable.

  

• Both At The Same Time

  Undercover Sculptures, kjubh e.V., Cologne

  Fingerprints on Din A4 paper, acrylic glass.

  

• When Destruction Becomes New Form # 1 – 12

  Aufruhr, frontviews gallery, Berlin

  12 letter trays (the letter trays have been treated in different ways: folded, thrown, crushed, kicked, jumped on, hammered, …), wodden and metal shelters, chairs, walls from the art fair.

  

• Mailänder Skizze

  Aufruhr, invitation card, frontviews gallery, Berlin

  C-Print, 16 cm x 24,5 cm

  

• 2010

• Handouts # 1 – 3

  Statics And The Movement In Between, frontviews gallery, Berlin

  Fingerprints on paper with single fold, 29,7 × 20,8 cm/ Acrylic glass.
  A fingerprint and a sheet of paper are unique in the status of vague contact. The more direct is the action, the less reproducible it becomes.

  

• 2009

• Ohne es zu merken

  Skulpturi DK, Copenhagen, Denmark

  Broom, aluminium bar, grafit, signs at the ceiling.

  

• Unabhängig von der Lage

  Cuxhavener Kunstverein

  Curtains, ceiling illumination and ceiling construction from the Cuxhavener Kunstverein, plasterboard, cable clip, electricity cable, acrylic glass.

  

• Maximale Fallhöhe

  Galerie Oelfrüh, Hamburg

  The gallery has two floors, one and the second floor. The bottom of the vase was drilled out accurately. Under the vase without bottom, I drilled a hole in the same size through the ground floor of the 2nd floor.

  

• Deplatzierungen # 1 – 3

  Skulpturi DK, Copenhagen, Denmark

  Chairs

  

• 2008

• Without Here – Without There

  Unten Drunter, Malmö, Schweden

  The bicycle from the curator, carpet and lamps from the gallery, wooden slats from other exhibitions before, prohibition sign of blockage vorbidden / The room is used during off exhibitions as basement for bike.

  

• 2007

• Nowhere Is Everywhere

  Cluster, Berlin

  Invitation card for the installation Nowhere Is Everywhere / C – Print/ 40 × 60 cm

  

• Bist Du da?

  Künstlerhaus Bremen

  This time the gallery-space itself was the starting point for an installation that both fills and penetrates the space: the foundation was formed from the floor plan, remnant material, and the function of the building complex – which was always used as a production plant. So the wooden bars represent a working-material that gathers in storage, and which allows a spectrum of attached associations in its raw form.

  

• 2006

• catalogue presentation of “Ach so”

  Kreta Pavillon, Rosenthaler Platz, Berlin

  dolly converted in to a sales counter, platform, green carpet, wall covering, banner

  

• 2002

• Standpunkte unterschiedlicher Sichtweisen

  downtown Solothurn, Switzerland

  28 blue dots, coat of paint, 50 cm diameter

  

• Parasitäre Verhältnisse und Dialoge

  Underground Station Alexanderplatz U2, Berlin

  Berlin’s Alexanderplatz metro station, a space increasingly dominated by economic logic, the act of “leaning” becomes a poetic act of resistance. Over a period of two weeks I spend some time observing people in the subway. I watched how they walked and how they responded to the architecture and structure of the station: What directions were the people travelling in?