This defies the values of clarity and linear narration and invites the viewer to dwell in temporal ambiguity. Joosten’s works suggest an ongoing becoming, a refusal to settle into past or future, memory or vision. The artist thus creates a space for a temporal drag - a reverberation of the past in the present. This form of temporal irritation can be read as both a material and conceptual interruption. What happens when time gets out of sync? When materials, memories and narratives lose their intended place in cultural, industrial or emotional systems? And instead take on alternative rhythms?
His practice thus ties in with author Elizabeth Freeman’s call in Time Binds (2010) to inhabit time in alternative, resistant ways. Neither quite past nor already future: Joosten collects the unclaimed, the half-forgotten, the speculatively remaining.
We find ourselves in the archive of the not-yet.
- Emily Pretzsch
selected
group-shows:
curated
shows / events:
INTERCOM
duo | Gasoline Projects | New York City
We are all the weakest link. Goodbye!
duo | Neuworkshop | Munich
Buck up - never say die. We’ll get along
duo | GlogauAir | Berlin
2024
TRADING POSTmodernity
solo | Kunstraum Potsdamer Straße
Gallery Weekend | Berlin
2023
FOLGE #07 (PILOT)
solo | Kirchberger & Wiegner Rohde
Ortstermin 23 | Berlin
2025
great new sun
Polonsky at 93 19th | New York City
GANAHL, JOOSTEN, PRINCE
The Schloss | New York City
Feral
MOLT / Wehrmühle | Berlin
Can we borrow your tools ?
Spoiler | Berlin
Attacke der Retroavantgarde
The Broken Gallery | parallel to Art|Basel
Basel
New Perspective
New & Abstract / ArtConnect | Berlin
We’ll get trough this, ok?
Emotionpowerhouse | Berlin
The presented Touch
Salon am Moritzplatz | Gallery Weekend
Berlin
2024
1+1
Galerie Met | Berlin
SYNC
JohnenPrivat - supported by Max Goelitz
Berlin
The Spirit Of
Lothar Wolleh Raum | Art Week | Berlin
Unreal Estate
Suprainfinit Gallery | Bucharest
One To(o) Many
GROTTO | (reading) | Berlin
Nacht des Chamäleons
Gorenflos Architekten | Berlin
Behind the Scene
UdK | Berlin
Stranger Danger
Kunstraum Potsdamer Straße | Berlin
2023
Entropy
Lieu Idéal | Paris
Works for me
Studio Christian Jankowski | Berlin
Permeable Kollisionen
Zentrale | Gallery Weekend | Berlin
FLUXUS+studis
Museum FLUXUS+ | Potsdam
2022
Kafayi yemek
Neuköllner Salon | 48h Neukölln | Berlin
Filmfest Müchen
Engtanz / P1 | Munich
Filmfest Müchen
Kunsthalle München | Munich
Late Bloomers
HGB | Leipzig
Ping-Pong
HGB | Leipzig
minimal
Institut für alles Mögliche | Leipzig
ASR
OXI Club | Berlin
2025
Can we borrow your tools ?
Spoiler | Berlin
2023
Spiritus 05 | Berlin
Lobe Block
Exhibition & Launch 5. issue of spiritus
2022
Spiritus 04 | Berlin
Haus der Statistik
Launch 4. issue of spiritus
2021
Spiritus 03 | Berlin
Souvenir Official
Exhibition & Launch 3. issue of spiritus
Spiritus 02 | Berlin
LVX Pavillion, Volksbühne
Exhibition & Launch 2. issue of spiritus
2020
Spiritus 01 | Berlin
Gropius Bau
Launch 1. issue of spiritus
Ultricies Vestibulum
Facilisis Ornare,
Porta Libero Universitas,
tincidunt.nibh@portolibero.edu.au
0431 070 713
Dictumst Gravida
Auctor Ligula / Founder
Aliquam Aliquam Congue, Felis
dictumst.gravida@gmail.com
0404 965 983
Rhoncus Mattis
Suspendisse Professor
Facilisis, Bibendum Ornare & Congue
0415 843 581
rhoncus.mattis@facilisis.edu
Sollicitudin Euismod
Founder
Pellentesque Grounds, Porta Libero
0422 221 072
sollicitudin@vestibulum.com
Egestas Convallis
Deputy Parturient Dictum
Duis & Ultricies Vestibulum
egestas.convallis@vestibulum.edu
0402 254 956
by Tincidunt Nisl
2024
‘Ullamcorper Faucibus (Congue) Euismod’, by Ligula Parturient, Bibendum Review Porta Libero
2023
Dictumst Tristique, Facilisis Magazine, Edition Two, Porta Libero
2021
Auctor Adipiscing Art Magazine, Porta Libero
2020
Sollicitudin Ornare Magazine,
Porta Libero
2020
Last Updated 24.10.31
ISSUE (series)
ISSUE [0724] | UdK | Berlin | 2024
ISSUE [0924] | Lothar Wolleh Raum | Berlin | 2024
ISSUE [1024] | JohnenPrivat | Berlin | 2024
A magazine with an annual subscription. A payment and thus a promise for content that doesn't yet exist. The issues yet to be published are already assumed. Providing a contemporary overview. This current moment is changing, being overwritten. And requires replacement with new content. The magazine's graphic grid remains, and the cover template is merely replaced in terms of content. A new photo, a new name, the issue one step further. It's a production machine.
Once the preparatory work has been completed, this logic can continue to wander freely, settling within the tested form. I'm interested in what leads to the final version before what is visible, and how these prototypes and steps lose their function and become irrelevant at the moment of completion. They remain in storage, too valuable to be discarded, but they represent dead material. Retired, waiting in storage for a possible overview exhibition or publication in which they could be honored one last time as an important part of the development.
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Buck up - never say die. We’ll get along !
GloguaAir | Berlin | 2025
In collaboration with Moksha Richards
Surrounded by paralysed witnesses with a clearly defined task. Charged with emotional value, part of our individual worlds.
Utilitarian forms made to serve. Decades in the same framework. Still functional, still standing. Cycles of consumption and industry. Memories of cracked shells, of stains and colour streaks from a previous pulped life. Recycled, reshaped, and marked by their pasts.
Demanded material accumulates presence, builds a character. The objects anthropomorphize into figures who have lived through repetition and rhythm. Carriers of evidence of what has passed through them, came, stayed, and left.
We were inspired by Charlie Chaplin’s Modern Times. The Tramp, reduced to a functional part of the machine, mirrors these objects. Designed for use, bent to utility. And yet he resists. He clowns, he dances, he escapes. In these systems of enforced rhythms, he remains alive. The Tramp and his companion are the only joyful spirits in a world of automata. They live by their wits, their humour, their movement.
The final card of Modern Times reads: “Buck up - never say die. We’ll get along !” A trace remains. A future stirs.
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Buck up - never say die. We’ll get along !
Buck up - never say die. We’ll get along !
ARCHIVED HERO (series)
AH 01 | UdK, KUNSTRAUM Potsdamer Straße | Berlin | 2023, 2024
AH 02 | KUNSTRAUM Potsdamer Straße | Berlin | 2024
AH 04.1 - 04.2 | Emotionpowerhouse | Berlin | 2025
AH 04.3 | Salon am Moritzplatz | Berlin | 2025
A toy representing a character is just an imprint shaped by play, a labelled character. They don't want to leave, talking about their glorious times,in which they were once at the top. Icons in films, advertising, stories idealised, glorified and commercialised.
These figures, torn from history, have become myths unable to die due to their mass medialisation, part of our popular culture. But slowly they escape into the wall. They can no longer follow the contemporary, which is not their own, they fall out, become alienated and isolated and lose their once shining status as changing times and new values shift their context.
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RE:VISION (series)
RE:VISION - SF [32/83] | Galerie Met | Berlin | 2024
RE:VISION - CR [67/06] | JohnenPrivat | Berlin | 2024
Stories are never fixed; they shift with time, reframed by new contexts and cultural sensibilities. A remake is not a mere repetition but a reinterpretation. An act of translation that transforms a narrative through its setting, language, and aesthetics. The same story, told again, becomes a reflection of its era, shaped by the values and desires of the present.
Locations reorient meaning, language alters rhythm, fashion and design embed it in the new present. Each retelling is a negotiation, showing that what endures is not the story itself but the act of revisiting it.
Recognition is a pleasure, it's not jumping in at the deep end, but a docking. Why did Disney buy Lucasfilm, the company behind Star Wars, for 4.05 billion US dollars in 2012? Not out of enthusiasm and fandom, but because it saw potential in the already familiar world that George Lucas had built. A basis for numerous spin-offs and sequels. From the perspective of a hoped-for positive reception, or even just the hope of arousing interest in consuming the newly produced product, it is of course also a certainty.
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CUT-FISHING FOR A VIEW
JohnenPrivat, supported by Max Goelitz | Berlin | 2024
In collaboration with Daniel Hölzl
Lines resurrect the silhouette of a window hidden behind the plaster wall. Through repetition with a chalk line, a proposal is made to turn back time and reestablish what once was. Brick borrowed from the original facade ground to dust.
The site specific work functions as a portal, activated by the residue of lived material. The faint remnants are a mention of potentiality and to the fragility of architecture, to the return to nothing. The window outlived its original purpose, now obsolete, it renegotiates the boundaries of utility.
Simultaneously the contradictory dialog only enables itself trough the current staging of space.
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