Antje Majewski. Die Gimel-Welt. Wie kommen Objekte zum Sprechen? /
Antje Majewski. The World of Gimel. How to Make Objects Talk?

Kuratoren/Curators: Adam Budak und Antje Majewski
Mit/With Thomas Bayrle, Helke Bayrle, Marcel Duchamp, Didier Faustino, Pawel Freisler, Delia Gonzalez, Alejandro Jodorowsky, Edward Krasinski, Leonore Mau, Markus Miessen & Ralf Pflugfelder, Dirk Peuker, Agnieszka Polska, Mathilde Rosier, Gavin Russom, Issa Samb, Juliane Solmsdorf, Simon Starling & Superflex, El Hadji Sy, Neal Tait
Kunsthaus Graz 2011

The Guardian of All Things That Are the Case, among others: a clay teapot in the form of a human hand, a shell, a pot made of fragrant wood, contains one black ball or two glass eyes, a buddha's hand citron, a hedge apple, also called osage orange, neugerriemschneider, Berlin 2011

Beyond the Bond - Jenseits der Mensch-Mensch-Grenze,
curated by Nina Franz and Timo Feldhaus
With: Sterling Crispin, Antje Majewski, Manuel Bürger & Tim Häneke, Jonas Weber Herrera



Antje Majewski, The World of Gimel. How to make objects talk, Ed. Adam Budak, Peter Pakesch. Kunsthaus Graz / Sternberg Press, 2011
Antje Majewski, Die Gimel-Welt. Wie man Objekte zum Sprechen bringt, Hrsg von Adam Budak und Peter Pakesch, Kunsthaus Graz / Sternberg Press, 2011


Animism, Haus der Kulturen der Welt, Berlin 2012 (La Coquille, 2010)
Komplexraum #3, General Public, Berlin 2012 (La Coquille, 2010)



Adam Budak for giving me the Aleph, for accompanying me for two years on my travels though the World of Gimel and for making all of this possible.

To the artists, all of the authors, all of the models in all of the paintings: many, many thanks for your wonderful contributions and friendship!

Katia Huemer for her patience, her crucial contribution and her foresight. Peter Pakesch for his trust. Didier Faustino and Isabelle Daëron for the outstanding architecture. Ronald Lind and Michael Posch for the graphic design for this catalogue. Johanna Ortner, Magdalena Reininger, Elisabeth Ganser, Robert Bodlos and everyone at the Kunsthaus Graz, as well as Lena Inken Schaefer, Claire Rose and Jan Salewski for their assistance.

Clémentine Deliss for acquainting me with the Laboratoire Agit Art, for her help with all the translations and support for the film production of La pierre, la boule, les yeux and La coquille through the Weltkulturen Museum, Frankfurt. Shuxian Xu for bringing me to the to right places in southern China. Ingo Niermann, Markus Miessen, Karin Sander, Vanessa Joan Müller, Patrick Komorowski, France Fiction, Hartmut Solmsdorf, Yusuf Etiman, Katrin Vellrath, Michał Wolinski, Juliane Solmsdorf, Dirk Peuker, Magdalena Magiera, Stephan Koal, Katharina Koppenwallner, Olaf Stüber, Burkhard Riemschneider, Tim Neuger for the invitation and collaboration on exhibitions and publications that became part of The World of Gimel. Clémentine Deliss and Charles Asprey for inviting me to Randolph Cliff, Clémentine Deliss for inviting me to the Weltkulturen Museum, Frankfurt, where I found time to think. Foksal Gallery Foundation for allowing me to play on the Krasinski studio terrace with my ball. John Joseph Mathews for his fireplace room. Oliver Helbig for his photograph. Michael Taussig for his books. Marie Bonnet, Sebastian Cichocki, He Cong, Hu Fang, Roberta Gordon, Huang Jian, Lu Ling, Abdoulaye Konaté, Thomas Kilpper, Ma Yingli, Paul Nesbitt, Henry Noltie, Amy Patton, Dr. Eva Raabe, Jim Skuldt, Dr. Mona Suhrbier, Jaro Straub, Gary Webb, Ma Xiaozhong, Hendrik Zimmer and many more for information and conversations. Brigitte Majewski and my family. Helga Liebe and Anne Carl for everything they have given me along the way.

And thank you, my dear little objects; you have led me well!

“If all pleasure were to gradually accumulate and the entire mass were to remain permanently in the human body, or at least its most vital parts, then we would never be able to distinguish between one pleasure and another”
(Epicurus, Principal Doctrines, 9)