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At Wang’s

5. – 17. November 2012

Exhibition opening at the Ex-Chinese restaurant at
Budapest 1114, Bartók Béla út 29.
Opening: 5th November, 6pm
Opening times: 5th – 17th November, 4-7pm

Participating artist:
Mike Ainsworth, Sós József, Zékány Dia, Aubrey Ramage Lay, Davor Paponja, Laura Arena, Levko Esztella, Erlich Gábor, Kis Judit, Pálinkás Bence György, Bogyó Virág (PR Csoport), Hódi Csilla (PR Csoport)

A workshop led by:
Thomas Kilpper

Organised by IGOR METROPOL, “Social Responsibility in Art Today” (SRIAT) is a two-week initiative comprised of an artists’ workshop, an exhbition At Wang’s and a public discussion at Ludwig Museum.
The project aims at inquiring into the possibilities of art as a factor of social change through different means. SRIAT’s goal is to give a time frame and space for experimental approaches towards relevant issues like freedom of speech, domestic violence, nationalism/ internationalism, identity, capitalism, democracy…, introducing a collective artistic work field.
The workshop is led by Berlin based artist Thomas Kilpper. Following an open call, 12 participants from Hungary and abroad were selected to collaborate with Kilpper in a think-tank format.
The participants are working at Wang’s, a former Chinese restaurant. The restaurant’s walls have been turned into an “open diary” constantly updated by the participants. The inner part of the space has been transformed into a shelter, using the interior design of the formal restaurant. The shelter is also a site for personal statements from the participants.
In addition, there are sound- and video installations, intervention documentations and a live-performance. The place has been continuously transformed during the workshop, during the two-week long process.
The participants explore various politically or culturally charged sites of Budapest. The demonstrations of the National Holiday on October 23 served as a field study for investigating the Hungarian political situation. They targeted a number of public statues, for example Ronald Reagan, a bronse policeman, among others. These ‘guerilla sculptures’ address social and political issues like the banning of dumpster-diving or censorship. The documentation is displayed on found video tapes refering to DIY-tactics of political activism.

The project SRIAT: Social Responsibility in Art Today was organized by Igor Metropol Association in collaboration with the Intermedia, the Art Theory and Curatorial Studies Departments of the Hungarian University of Fine Arts in Budapest. Supported by: ifa and NKA.

Etna carrara @ Ludwig Forum Aachen

June 24 – September 2, 2012

The exhibition ETNA CARRARA presents works by the nine artists who were awarded the renowned Villa Romana Prize in 2011 and 2012: Wolfgang Breuer, Nine Budde, Thomas Kilpper, Henrik Olesen, Sophie Reinhold, Yorgos Sapountzis, Nora Schultz, Rebecca Ann Tess and Vincent Vulsma.

On the occasion of the exhibition, Thomas Kilpper will develop a 15 x 4 metre banner for the façade of the Ludwig Forum Aachen, which is a partial impression of his floor work for the Venice Biennale 2011. The wooden floor of the “Pavilion for Revolutionary Freedom of Speech” with its 33 portraits of politicians served as a printing block for the large-format banner.

Thomas Kilpper @ Kunsthal Charlottenborg, København

May 25 – August 5, 2012

This exhibition features a major installation by the German artist Thomas Kilpper, entitled Pavilion for Revolutionary Free Speech. The work was originally created for the group exhibition Speech Matters at the Danish Pavilion at the 2011 Venice Biennale, where it took the form of a raised wooden platform attached to the exhibition building …

Venetian Prints @ dispari&dispari

February 11 – April 15, 2012

PRESS RELEASE: dispari&dispari project is pleased to invite you on Saturday February 11, 2012 to the opening of the exhibition “Venetian Prints”, the second solo show by Thomas Kilpper (Stuttgart, 1956) at dispari&dispari project. This time Kilpper transforms the exhibition space into a printing office laying out the wooden floor of his “Pavilion for Revolutionary Free Speech” that he made last year for the Danish Pavilions “Speech Matters” exhibition within the 54th Venice Biennial. For the first time he now has the opportunity and working conditions to use his 140 square meters large floor-cut from the Venice Biennial as a template to do large-scale prints on paper and fabrics.

In this work Kilpper refers to social issues such as censorship, abuse of freedom of expression or the exclusion of parts of mankind or the society. However the main focus is set on the general situation in Europe, where within the last 20 years a shift in political power did happen: The once marginal factions of the extreme right have moved closer to the centers of power. This development was to be seen from France to Italy, Denmark, Netherlands, Belgium to Hungary and Austria… Kilpper stresses this has to be stopped and turned by a new move towards freedom, emancipation and social equality. “I want an open Europe, where we all live with equal rights, especially with the immigrants and refugees from other cultures”, Kilpper states in an interview with the German press agency, dpa.

The exhibition is open until April 15, 2012, for more information visit
Thanks for the support to Maramotti Collection / Max Mara, Reggio Emila

below fotos show work in progress at  in Reggio Emilia

Learning from the Maghreb @ Museo Marino Marini, Villa Romana and déjà.vu

June 30, 2011

Museo Marino Marini, Villa Romana and déjà.vu present

Learning from the Maghreb. How to get rid of unwanted presidents?

featuring Emanuela Ascari, Astrid Auberger, Giulia Cenci, Eva Geatti, Maria Gleu, Ozan Erme Han, Cemile Kaptan, Daniela Spagna Musso, Alia Scalvini, Dominique Vaccaro, Eugenia Vanni, Johannes Wagenknecht. Curated by Lelio Aiello ——  30.06.2011, 6:30 p.m.

In June the artist Thomas Kilpper (Germany) held a workshop titled Learning from Maghreb. How to Get Rid of Unloved Presidents? in Villa Romana, Florence. In line with the past years’ experiences, the work.lab has focused the attention on everyday life and its territorial, social and political implications. It has asked questions about the role of the artist in society and how to address social issues through art. For whom do we produce art? Which is the role of art in the struggle for social emancipation and equality? Could artistic and aesthetic strategies be developed for social change?
The workshop has involved twelve participants in the realization of an artwork in the entrance area of Museo Marino Marini, for which recycled materials were used. The installation was elaborated within the limits of sculpture and architecture through the active participation of the group.

The twelve participants were selected by the committee formed by Lelio Aiello (work.lab curator), Angelika Stepken (Villa Romana Director), Alberto Salvadori (Marino Marini Museum Director), Thomas Kilpper (artist).

work.lab is part of déjà.vu, a project born in Bologna, that has pursued for four years a study that includes internationally renowned artists, students, and public places in a dimension of dialogue and participation.

Villa Romana is a structure founded in Florence in 1905 by German artist Max Klinger which acts as a forum for contemporary art that favors, through exhibitions and various initiatives, a fruitful dialogue with the local reality, and promotes cooperative relationships with interesting partners. Each year it establishes an international award for artists offering a residence for one year.

The Marino Marini Museum is a Foundation that ensures the conservation, the protection, the development and the exposure of Marino Marini’s works to public, and to manage the Museum situated in San Pancrazio’s former church, in Florence. It promotes cultural events and exhibitions dedicated to artists and themes from the twentieth century to the contemporary.

aritmia is a cultural association based in Bologna that promotes artistic experimentation and production most adherent to the contemporary culture.

Imparare dal Maghreb. IT
Museo Marino Marini, Villa Romana e déjà.vu
sono lieti di presentare

Imparare dal Maghreb. Come sbarazzarsi dei presidenti non desiderati?

con Emanuela Ascari, Astrid Auberger, Giulia Cenci, Eva Geatti, Maria Gleu, Ozan Erme Han, Cemile Kaptan, Daniela Spagna Musso, Alia Scalvini, Dominique Vaccaro, Eugenia Vanni, Johannes Wagenknecht. a cura di Lelio Aiello —— 30.06.2011, ore 18:30

Il Museo Marino Marini inaugura giovedì 30 giugno alle ore 18.30 Imparare dal Maghreb. Come Sbarazzarsi dei Presidenti Indesiderati? Un’installazione che coinvolge la zona d’ingresso del Museo, realizzata con materiali di riciclo frutto del laboratorio “work.lab”, a cura di Lelio Aiello, tenutosi a Villa Romana da Thomas Kilpper con dodici giovani artisti italiani e internazionali.

Thomas Kilpper (Stoccarda 1956) residente a Berlino, invitato ad esporre alla Biennale di Venezia nel padiglione Danese, è noto per i suoi lavori che intervengono in specifici contesti sociali e politici. L’artista, borsista nel 2011 a Villa Romana, Firenze, ha tenuto per due settimane, nel mese di giugno, un laboratorio. I dodici partecipanti selezionati da una commissione formata da Lelio Aiello (curatore work.lab), Angelika Stepken (Direttore Villa Romana), Alberto Salvadori (Direttore Museo Marino Marini), e dallo stesoo Kilpper sono: Emanuela Ascari (Maranello, 1977); Astrid Auberger (Berlin, 1986); Giulia Cenci (Cortona, 1988); Eva Geatti (Bologna, 1981); Maria Gleu (Nurberg, 1988); Ozan Emre Han (Istambul, 1985); Cemile Kaptan (Istambul, 1977); Daniela Spagna Musso (Bologna, 1975); Johannes Wagenknecht (Bulgaria, 1987); Alia Scalvini (Desenzano, 1980); Dominique Vaccaro (Bologna, 1980).

In linea con le esperienze degli anni passati il laboratorio ha focalizzato l’attenzione sul quotidiano e sulle sue implicazioni territoriali, sociali e politiche. Ha posto interrogativi sul ruolo dell’artista nei confronti della società e su come affrontare questioni sociali attraverso l’arte. Per chi si produce arte? Quale ruolo ha l’arte nella lotta per l’emancipazione e/o l’uguaglianza sociale? Si possono sviluppare strategie artistico-estetico per il cambiamento sociale?
Il laboratorio ha coinvolto i dodici artisti nella realizzazione di un’opera nell’area d’ingresso del Museo Marino Marini, per la quale sono stati utilizzati materiali di riciclo, elaborando una installazione al confine tra scultura e architettura, che ha preso forma attraverso la partecipazione attiva del gruppo.

Con il sostegno del Museo Marino Marini, di Villa Romana, della Fondazione del Monte di Bologna e Ravenna. Col patrocinio del Comune di Firenze, Media partner Brainstorming art project, UndoNet, Exibart, Edizioni Zero.

work.lab s’inserisce nell’ambito di déjà.vu, il progetto bolognese che da cinque anni porta avanti una ricerca sui linguaggi del contemporaneo che include artisti, studenti, pubblico e luoghi, in una dimensione dialogica e partecipativa.

Villa Romana è una struttura fondata a Firenze nel 1905 dal pittore tedesco Max Klinger e si pone come un forum di arte contemporanea che intesse, attraverso mostre e varie iniziative, un proficuo dialogo con la realtà locale, promuove rapporti di cooperazione con partner interessanti. Istituisce annualmente un premio internazionale per giovani artisti che si concretizza in una residenza di un anno.

aritmia è un associazione culturale con sede a Bologna e promuove le sperimentazione e le produzioni artistiche maggiormente aderenti alla cultura contemporanea.

Con il patrocinio del Comune di Firenze

info: – – –
Media partner UnDoNet, Exibart, Edizioni Zero

piazza san pancrazio
50123 firenze, italia
t +39 055 219432

Revolutionary Free Speech – a workshop

June 24 -25, 2011

Thomas Kilpper
Revolutionary Free Speech – a workshop with lectures and performances on the occasion of Speech Matters, a group exhibition curated by Katerina Gregos in the Danish Pavilion at the 54th International Art Exhibition – la Biennale di Venezia

workshop flyer  [PDF]

Friday, June 24

2:00 – 3:00 pmRegina Wamper„Beyond Freedom of Speech“
3:20 – 5:10 pmJakob Jakobsen„The Cultural Battle in Denmark since 2001“
4:40 – 5:10 pm(salong)noise performance with young artists and students of the Academy of Fine Arts, Munich
5:30 – 6:00 pmReBiennale„Beyond the Venice Biennale“ – social and environmental activities in Venice.
Afterwards there will be food and a party at the social centre „El Morion“ in Calle del Morion, which is run by the ReBiennale network

Saturday, June 25

11:30 am – 12:30 pmGáspár M. Tamás„Beyond Revolution“
2:00 – 3:00 pmSalah Methnani„Beyond Migration“ – The anger of the Maghreb and Arabworld, To what extend belongs „Freedom of speech“ and the „freedom to move“ together…?
4:00 – 4:30 pmThomas Kilppergives a tour in his work
5:00 – 5:30 pm(salong)– noise performance with young artists and students of the Accademy of Fine Arts, Munich

Thomas Kilpper @ Danish Pavilion in Venice

thomas kilpper – installation view – pavilion for revolutionary free speech – giardini, venice 2011
Interview: Thomas Kilpper, Florenz - with Thomas Borchert, DPA (Deutsche Presse Agentur), Kopenhagen
Question: There has been a very strong and almost unanimous negative response from Copenhagen to your installation at the Danish Biennale Pavilion. How did you experience this echo?

Tonight I dreamed of Asta Nielsen, she was a cabaret artist and played the Danish Defence Minister in a television speech: “I have to put my soldiers on alert! What foreign artists have done here is not just an embezzlement of Danish taxpayers’ money, it is a declaration of war on our nation! They have received our money! And their thanks? To criticise us! That has never happened before! For the good of our nation we must reclaim our taxpayers’ money! Our soldiers are ready to defend our nation against this shame!” – Asta was great and in her exaggeration she hit the nail on the head. The excitement about the Danish pavilion in Venice is beyond reason.

Question: What is your actual intention with the installation?

My intention was to create a work of art full of intensity that carries within itself the contradiction of being a romantic pavilion, an open place in the green, a place that invites you to linger, but which then, when you enter it, turns out to be an accumulation of enormous conflict potentials. Need and reality collide. As in real life.

Is it about the abuse of freedom of opinion?

Yes, also, as about current tendencies of censorship, but not only. In this work I focus on the general situation in Europe, where there has been a shift in power in the last 20 years: the once marginal right-wing splinter groups have moved to the centres of power, this development is catastrophic. I try to make this development visible and find an artistic answer to it. My work is a reputation: we must put an end to it, we need a fundamental change, an emancipatory departure. I want an open Europe, where we live together on an equal footing with everyone, including immigrants and refugees from other cultures.

Question: Do you, as the media in Denmark have said, want to encourage visitors to step into portraits of politicians?

That’s nonsense, my work “Pavilion for Revolutionary Free Speech” contains a “Speakers Corner” with a large megaphone that every visitor can use for spontaneous speeches, as well as a floor piece. I transformed the entire floor area, approx. 150 sqm, into a woodcut. Fact is, the visitors can enter this woodcut. That is also the special thing, they stand in the middle of the work of art. At their feet are these figures, which are partly equipped with great power. For a brief moment, the visitors experience a perspective that turns the real power relations upside down. Of course, they can determine for themselves how and where they move and position themselves in the picture. It would be a complete contradiction to my way of thinking to give guidelines here. After the exhibition I intend to make a complete impression of the picture, perhaps the traces of the visitors will be visible on it. So the work continues to develop in the sense of a social sculpture.

Question: What do you think when in Danish newspaper commentaries your work is practically consistently dismissed as “flat provo art”, “art of abuse” or “ridiculous”?

Many artists – including well-known ones – have already been confronted with insults of this kind; I would wish for a sophisticated form of controversy. Whoever perceives my art attentively will notice that it is a call to differentiation. 33 portraits – they all have two eyes, a nose and a mouth and yet they all embody individual persons. Curator Bice Curiger or Paolo Baratta, director of the Venice Biennale, a self-portrait of myself, Thilo Sarrazin, Angela Merkel, Pope Benedict. No one can seriously claim that everyone is in the same position and in the same responsibility. Nevertheless, I contradict everyone, only for different reasons.

In view of the fierceness with which my work is attacked in Denmark, it is remarkable that not a single journalist has contradicted it even on one point: the Pope does not clear up the sexual assaults of his priests, instead he agitates inhumanly against homosexuals, Berlusconi has a secretary of state who receives her post after she says she is proud to be a fascist, the Greek government wants to build a fence to Turkey in order to obstruct migrants’ access to Europe…, the Hungarian government reintroduces the censorship of the media…, for me this is all material for resolute contradiction. I think my work of art is making such high waves because it develops fundamental criticism of political conditions in a prominent place with unusual unambiguity.

Question: Denmark’s Minister of Culture Møller has criticised that only two out of 18 artists participating in the Danish Biennale Pavilion are Danes. Can you understand that?

Malte-Bruns would have turned around in his grave and shouted to the minister: “My son, what you’re saying is a disgrace…” The orientation of the Danish Pavilion across national borders is a groundbreaking step. Of course, this does not mean that there are no outstanding artists in Denmark. Maybe one day they will actually be seen in the German, British and certainly in the Danish pavilion. I don’t define myself by “being German”. I found the hospitality of the Danish Arts Council phenomenal and was very impressed.

Question: Has your image of Denmark changed as a result of the public reactions to your installation? How do you experience the climate of debate there in comparison to Germany?

Yes, I am astonished that there doesn’t seem to be any critical, left-wing media that form their own opinion, research and write in a well-founded way. But that fits into the pan-European picture, which confirms to me how important clear signs of protest and resistance are. I hope, however, that they will soon be there again, the fish that swim against the tide, that start a debate on content and oppose the politics of exclusion, mockery and racism.

Selected Artists 2010

January 22 – February 13, 2011

Neue Gesellschaft für Bildende Kunst e.V.
Oranienstraße 25 | 10999 Berlin

January 22 – February 13, 2011
Opening: January 21, 7pm

Scholarship holders of the Berlin Senate’s Working Scholarship for Visual Arts 2010

Every year, artists are awarded a scholarship by the Berlin Senate. This year again, the RealismusStudio of the NGBK will present the works of the artists living in Berlin in the exhibition “Selected Artists 2010”.
Artists: Matthias Einhoff, Lars Teichmann, Nezaket Ekici, Karolin Meunier, Heimo Lattner, Ingo Gerken, Maya Bajevic, Egill Saebjörnsson, Amir Fattal, Johannes Paul Raether, Carsten Fock, Stephanie Kloss, Thomas Kilpper, Ulf Aminde and Swantje Hielscher

Kilpper @ Galerie Wolfstaedter

January 14 – March 12, 2011

Thomas Kilpper: After War Krauts @ Wolfstaedter
After War Krauts @ Wolfstaedter

Thomas Kilpper, who received international attention especially for his artistic interventions in vacant buildings, will produce a new series of small drawings entitled “After War Krauts” for his exhibition at Galerie WOLFSTÆDTER. In this series he deals in a very special way with German post-war history. Kilpper’s current work is based on …Paul Swiridoff’s photographs. Swiridoff (1914-2002) set a monument to the West German post-war elite in three opulent illustrated books by Konrad Adenauer, Joseph Strauss, Ernst Jünger, Hermann J. Abs, Alfried Krupp and Friedrich Flick. Kilpper alienates and dissects these portraits with the simplest of artistic means. In the process, these formerly powerful people experience a peculiar form of deconstruction and decomposition. Photography as a means of transmitting the representation of power is undermined and counteracted. Kilpper’s installation thus becomes a tension-laden, anti-authoritarian historical tableau of post-war West German history.

Galerie Wolfstaedter
Rotlintstraße 98
Frankfurt, Germany

Squat or be damned | Lodz | 2010

squat or be damned

My work was commissioned and created as part of the Fokus Biennale 2010, Lodz: squat or be damned, 2010: ‘Dekorative Barikaden’, in front of five different empty buildings, all of which stand on Pietrowska, Europe’s longest boulevard in Lodz.

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Anemonevej Surprises | Art Festival Tumult

The Public Art Festival Tumult invites you to the
Opening of Thomas Kilpperʼs Anemonevej Surprises and
Tumult Finissage Party!
Saturday, October 16 – Nakskov, Anemonevej 1-27

17.00: introduction/guided tour by Thomas Kilpper
18.30: The local Nakskov groups Ghetto Pearls, Lopʼg boyz and Double Es
play and dance
20.00: Live concert with Gunni og Nitterne – the Copenhagen quartet plays gypsy, folk and punk
22 – : DJ David Prytz (Kilpperʼs assistant)

Tumult will offer cheap beers, drinks and soup all night. Bring your sleeping bag and stay the night at Kilpperʼs temporary straw-hostel at Anemonevej 27.

Free bus ride from Copenhagen, starting at 11 am, including guided tour to some of the Tumult art projects and a city walk in Nakskov by artist Frans Jacobi.  Bus leaves at 11 am from Ingerslevgade (Cph Main Station), sign up to info[at] before 13 October, 12 am

More ..
Thomas Kilpper at
TV Lolland
Kilpper at YouTube

Thomas Kilpper @ Galerie Christian Nagel

September 3 – October 30, 2010

Thomas Kilpper: Ulrike Meinhof, Maedchenerziehungsheim Guxhagen bei Kassel (1969), Linocut on paper

Opening of the THOMAS KILPPER exhibition at this year’s Düsseldorf Cologne Open Galleries:

Friday, September 3, 2010, 6-10 pm
Saturday, September 4, 2010, 11-8 pm
Sunday, September 5, 2010, 1-8 pm

The artist’s works will be on view until October 30 in the gallery rooms of Christian Nagel in Cologne.

Galerie Christian Nagel
Richard-Wagner-Str. 28
50674 Cologne

T: +49 (0) 221 257 05 91
F: +49 (0) 221 257 05 92 [at]

A Lighthouse for Lampedusa @ transient spaces in Naples/Napoli

After showing A Lighthouse for Lampedusa! in 2008/09 at Dispari&Dispari Project, Reggio Emilia and 2009 at Villa Romana, Florence, Napoli is the third stage of my Lampedusa project: to be seen at Lanificio 25 at Piazza Enrico de Nicola right in the centre of Napoli.
It was great fun to set it up. Thanks to all who helped installing it. Thanks to all in Lampedusa who are trying to make this dream come true.
Best wishes
Thomas Kilpper

A Lighthouse for Lampedusa!, Lanificio25, Piazza Enrico de Nicola, Naples, 2010

A Lighthouse for Lampedusa! Lanificio Napoli, 2010
A Lighthouse for Lampedusa! - Lanificio, Napoli 2010 16709
A LIGHTHOUSE FOR LAMPEDUSA! Lanificion Napoli, 2010
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A Lighthouse for Lampedusa! Lanificio Napoli, 2010
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A LIGHTHOUSE FOR LAMPEDUSA! Lanificion Napoli, 2010
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A Lighthouse for Lampedusa! – Lanificio Naples, 2010
Installation made from metal grid, wire, coloured plastic stripes, photos and light, ca. 8m x 5m x9m

A Lighthouse for Lampedusa @ IABR.NL

September 24, 2009 – January 10, 2010

“A Lighthouse for Lampedusa!” is presented at the 4th INTERNATIONAL ARCHITECTURE BIENNALE ROTTERDAM

24 September 2009 – 10 January 2010

The Curator and the Director of the International Architecture Biennale Rotterdam (IABR) are pleased to invite you, also on behalf of the Netherlands Architecture Institute (NAI), to the festive opening of the fourth edition of the Architecture Biennale in the NAI in Rotterdam on Thursday 24 September, 2009, from 4:00pm. The Biennale combines six sub-exhibitions by independent curators: Maakbaarheid, Refuge, Collective, Community, Reciprocity and Squat. REFUGE Curated by Philipp Misselwitz and Can Altay “Refuge” can imply a safe haven, or the notion of forced displacement, producing spaces that can range from luxurious resorts to overcrowded refugee camps. Spaces of refuge are generated by the desire or necessity to withdraw from the city, to keep out intruders, or to protect and control those inside. In our societies, protective isolation is as necessary as openness, yet when refuge dominates, urbanity is at risk. Focusing on cities in Turkey and the Middle East, this exhibition approaches spaces of refuge from opposing angles: as threats to urbanity that need to be prevented or dismantled, and as intimate, but still undeveloped forms of the Open City. Refuge will present projects from Rome, Istanbul, Beirut, Amman, Cairo, Dubai, Tripolis/ Nahr el Bared, Jerusalem, Diyarbakir, Tbilisi and other sites across Turkey, the Eastern Mediterranean and the Middle East.

Netherlands Architecture Institute (NAI)
Museumpark 25
3015 CB Rotterdam

For more information please check or contact the IABR Service Desk +31 10 4401342

A Lighthouse for Lampedusa! drawing mixed media, 330x150cm, 2009