Maria VMier: no: tongue breaks and thin fire is racing under skin, 2024
w/ Evelyn Sitter, @nnst_antn, The New York Board of Taste and many more
curated by Franziska Linhardt
3-15 September, Museum Brandhorst, Munich

Hard Ground, 2024, MoMA PS1, New York, curated by Jody Graf, w/ Matt Browning, Dora Budor, Jerry the Marble Faun, Amina Ross, Kern Samuel, Gianna Surangkanjanajai, Maria VMier

From Animal to Mineral, 2023/24, group exhibition, Lothringer 13 Halle, Munich
:|Cease-Fi-re|:[SCHWEFEL-ZINNOBER], 2023, Indian ink, pigment, charcoal, oil crayon and pencil on perforated paper, approx. 400 x 400 cm (2 sheets)

Table Joints [Conversation Piece], 2023
MDF, Spandex, 7 shapes for 7 companions
Table joints made for Conversation Piece, a work part of Ruine München Companions, Concept: Ruine München, Food: Paula Erstmann, Costume: Paulina Nolte, Setting: Jan Erbelding, Leo Heinik, Jakob Braito, Georgia Kaw, Maria VMier, Closing Ritual: CAConrad, Photos: Constanza Meléndez

Portal mit Wegerecht (Portal with Right of Way), 2023
steel, laquer, approx. 250 x 140 x 25 cm
Permanently installed at Los Angeles

Das Biotop auf dem Nazisockel/The Biotope on the Nazisockel, 2023, part of Ruine München Companions, April-October 2023
Jan Erbelding, Leo Heinik, Maria VMier and Leon Zmelty in cooperation w/ Saxophone students of Prof. Koryun Asatryan, Ben-Haim-Forschungszentrum der Hochschule für Musik und Theater München, and NS-Dokumentationszentrum München. Photos: Constanza Meléndez

Leitfaden [panic edit], 2023
print, 4c xerox on paper, open print run, 4 pages 2 sheets, 42 x 29.7 cm

Hi!, solo presentation, Museum Brandhorst, 2022
part of Site Visit, w/ Helin Alas, Haris Epaminonda, Madeline Hollander, Robert Keil, Johanna Klingler,
Carolyn Lazard, Cameron Rowland, curated by Giampaolo Bianconi
↪ txt Alien. Care. Wall by Lisa Jeschke

Objects of Request, 2022, ongoing series, bronze, spandex, currently 10 individual objects
Modeled in wax. /balls /knocker /heart /fist /spine /jaw /handle /vortex /heel. Made for knocking on the walls of institutions.

Flesh and Time and Bread and Friends, 2021 @ Galerie Christine Mayer, curated by Kristina Schmidt
w/ Helin Alas, Ciccio (Francesco Vizzini & Norman Chernick-Zeitlin), Ala Dehghan, Whitney Harris, Johanna Klingler, Paulina Nolte, Kristina Schmidt, Polina Tereshina, Maria VMier

Photos: Galerie Christine Mayer / Frank Stürmer

Untitled [Sappho], 2021, red ink stamped on silk paper, stamp size: 8 x 9.4 inches
I made a print motif for a stamp depicting a poem of Sappho combined with a drawing I made coming from a flower named after her. I made this piece as an ephemeral monument for my lesbian aunt Susa, who had died recently. The paper I printed it on is usually used to wrap flowers and I gave it to a local flower shop to use them on their bouquets.

FLORIDA Magazin #7: Sorge, artist publication, 2021
160p., 4c indigo print, thread stitching, stamped on the cuts, 18.5 x 15 cm, printrun 170
Ed. Mako Sangmongkhon, Beowulf Tomek, Maria VMier
Design: Maria VMier
Magazine developed out of our program at FLORIDA Lothringer 13, with the title “Sorge” (engl: care or worry). Care in all its meanings, as mutual support, as mostly unpaid or not adequately appreciated care work, and also as a now seemingly permanent state of exhaustion and anxiety. The book's concept and content follow an individually adjusted artist/activist in residency program and an experimental care online format, during lockdown in winter/spring 2021.

Zungen, 2020, solo exhibition @ Artothek, Munich. Organized by Konstantin Lannert, Flyer by Stefanie Hammann.
↪ txt by Kristina Schmidt in PW Magazin.

Ruinous Times, 2020, "Radio Aktivität. Kollektive mit Sendungsbewusstsein" @ Lenbachhaus München (gloves by Leo Heinik, publications: Ruine München)

The Thing in the Ceiling Gives Me Orders, 2020, solo show @ BOAN Art space, Seoul, curated by Jae-Hyun Yoo.
"In her first solo exhibition in South Korea, Maria VMier shows works created during her 14-day quarantine in a hotel close to Incheon airport. In diary-like text fragments, a photo series and ink drawings, she questions the (her) role of the artist in the pandemic here and now, starting from the own body as a tool of knowledge." (Text: Jae-Hyun Yoo)

Zur Einsamkeit, 2020, bar w/ Jan Erbelding, during "This House is not a Home", @ Lothringer Halle 13, Munich
2 hosts, 3 guests per 1 hour, 2 drinks in glazed clay jars, 54 Post Corona Counseling Cards as vague starting point for conversations

Vier, 2019, Solo Show @ Gig Munich, 2019
↪ txt by Magdalena Wisniowska
more photos via tzvetnik.

„Der Amazonas brennt, It’s not fire it's capitalism, und der Regenwald ist keine Kathedrale, und in der Uckermark brennt's, weil die Feuerwehr mal wieder was zu tun braucht, sagt vielleicht der Mann, der uns die Brombeeren bei sich pflücken ließ. Meine Hände danach ganz pink gefärbt, meine Mundwinkel auch. Die Hitze, die Dornen, die Wespen, die Sonne. Der Rundgang durch den Garten wird klingen, riechen, schmecken, sich gut anfassen und ansehen lassen. Die einzelnen Orte und deren Vegetation und Details sind die Narration der Ausgangspunkt einer Geschichte, die keine ist, sondern Notizen aus der Zeit der Residency, in sich nicht geschlossen, lose Fäden von Gleichzeitigkeiten direkt an mir in mir um mich im Internet am Telefon in den Nachrichten und Feeds in Gesprächen und Gedanken meinen und andererseits Schlagzeilen und Fakten und Meinungen und Lügen und Vorstellungen alles durcheinander. Es soll ein Blick ins Detail gehen und dann wieder wegspringen in die Totale oder zumindest der Versuch in die Objektivität und die Relation, die Beziehung zur Welt. Es sind diese Bewegungen, denen ich folge und die ich im Zeichnen auf dem Papier vor mir ablege. Ich bin dann so Antenne und Verstärkerin und Lautsprecherin.“

Power Breather, 2019, groupshow @ Spouse Vienna, Vienna (AT). w/ Jan Erbelding, Leo Heinik, Maria VMier / Ruine München.

Ruine München, nomadic artist-run space and publication series, w/ Leo Heinik and Jan Erbelding, since 2017
As Ruine München, we have been organizing a nomadic project space as exhibition, event, and publication series since 2017. Ruine München has a focus on experimental, performative, non-object-bound, or ephemeral artistic positions that are often only invited to art spaces as accompanying programs. For the artists we invite to work with us, Ruine München is a format in which they can define the appropriate framework conditions for their respective working methods themselves. We understand the Ruine as a nomadic artist-run off-space. This means that it usually takes place in changing public spaces, in parks, playgrounds, bars and art spaces in the city. Since we do not show objects, a small edition of an artist publication is published for each issue.

Tableau 00 [Brooklyn 2018, ich lese mir aus der Hand], xerox on A 3, 2018

Verschlingungen. Einführung in den Brasilianischen Hunger, 2017
Poster/zine, 4c offset, hand slit and folded, closed format 17 x 29.7 cm, open format 59.7 x 70.2 cm
I made this poster edition for an exhibition with young Brazilian artists in Munich. It brings together Oswald de Andrade's Anthropophagian Manifesto (1928), contributions by Adelaide Ivánova, Riccardo Domeneck and quotations by Glauber Rocha and Clarice Lispector. It was edited in collaboration with Oliver Precht.

Manifest. We Are Dependent., Hammann von Mier, 2018
'Work process, negotiating context and reflecting on the conditions of production are as important to the artistic practice of Hammann von Mier as the final object in the exhibition space. The artist duo makes self-interrogation a central component of their work, posing questions to be perpetually revisited regarding their own role: about working conditions and the purpose and function of artists today, but also about how one can, and why one would want to work as an artist today at all. This type of practical theorizing is an intrinsic part of their work as artists and also explains the need for an artistic duo, which deals with communication, form and the structure of collaboration in their work. Hammann von Mier ignores certain demands of the contemporary art industry. They constantly transgress it rather than let it define or delimit their practice. Above all, this approach allows them the freedom to work at the border of applied arts in a variety of formats and diverse collaborative contexts.' (Anja Lückenkemper, 2017)

OVERNIGHT HIGHSPEED Series, 2013 –2017
with Hammann von Mier
An Overnight Highspeed is a publication that is collaboratively devised within a very limited time frame within a certain setting. The previous production phase supplies image and text material. The publication serves as a break in the ongoing work process and divides it into chapters. It is printed with xerox in bw on copying paper at a local print shop.

Overnight Highspeed No1: Success is closer then ever, 2013
20 p., xerox on colored paper, hot foil stampings, saddle-stitched, 29.7 x 21 cm, 4 print runs
Collaging texts and images about stairs, training on steps, climbing steps, motivation, training, high performance, aesthetics, money, success to underpin HVM's concept of Hochleistungskunst (art of high performance). Edited in our kitchen during the night before the opening of Festival of Independents at Haus der Kunst München, printed the next day in a local printshop (Unikopie), released at the opening on a grandstand-like display together with a curated selection of artist books from our peers.

Overnight Highspeed No2: TWO, 2014
32 p., xerox b/w on light blue copy paper, whiteout strokes on the cover, extra: transparency with analogue morph face of HVM, signed, 21 x 29.7 cm, edition of 40
Adapting the terminology of a sports event to our collaborative, performative and sculptural publishing practice: player, field, game, fame.

Overnight Highspeed No3: Preview, 2015
32 pages, xerox printed in 20% black on light grey copy paper, 21 x 29.7 cm, edition of 200
Assembled during a train ride from the Venice Biennale Preview to Munich: 8.50 am ES 9712 Santa Lucia – 11.02 am EC 80 Verona Porta Nuova – 4.26 pm München Hbf. Printed in a local printshop, released the same day on the occasion of our debutant exhibition after graduation entitled "Preview", a vague projection of future forms. With contributions by fellow art students Jan Erbelding, Elke Dreier, Natalie Brück, Byron Kalomamas. On the other wall there is a tiled rectangle / in front of it a wooden board with a booklet on it the title Preview / a black stain in the middle of the cover / a blind spot / fade in / fade out / the publication / gave space to four people / BK ED JE NB / 4 visions / 4 projections / 4 previews / light grey on light grey / apparitional / soft / the future effect

Overnight Highspeed No4: Un Bar, 2015
32 p., bw xerox on yellow copy paper, stapled, 21 x 29.7 cm, edition of 40
Transcripts of experienced, present and past, and fictional nights. Telling each other about being lost and in extacy, flirting but not falling in love, pretending, dancing, building legends. Made for our installation/bar “HAMMANN VON MIER/VON MIER HAMMANN” at the artist-run bar die Hyperkapitalismus, Kammerspiele München (theater of the City of Munich). Edited during the night in that same bar one week earlier. Erschöpfung / liegen 6.30am / S sagt, komm wir legen uns hin, alle gemeinsam / lass uns alle gemeinsam einfach hinlegen / und schlafen / das wäre toll / Alles wird gut / : / Harmonie in München / Die Anderen da draußen in den Supervierteln / tun wieder so, als wäre alles in Ordnung.

Overnight Highspeed No5: München du sattes Gesicht!, 2017
52 p., copies of the original sheets from the installative publication of the same title, bw xerox on light green copy paper, stapled, 21 x 29.7 cm, 1st printrun of 18, each further print run is a copy of the one before, over time distorting more and more the graphics
München du sattes Gesicht! focuses on a discursive exchange between us and exhibition visitors during the opening. We provided 50 of our own personal, funny and serious demands towards our peers, printed on paper, attached to garments made of mesh fabric, layed out on the floor of the exhibition space. The result was a non-static installation, dissolving throughout the space. We both acted as hosts for the night of the opening, inviting people to put on the clothes and thus to engage in a conversation. The act of wearing the garments depicting the demand and an individually drawn glyph on each, a minimal varying character, unified those visitors into one collective group amongst the mass of the opening crowd.

Hammann von Mier Verlag, since 2013
The publishing house emerged in 2013 from the collective Hammann von Mier (Stefanie Hammann & Maria VMier). We understand the publishing house as an extension of this practice to others. It is a self-oganized, independent, volunteer-run platform for artists at the beginning of their careers and has a focus on Munich artists. It was founded in the knowledge that it is difficult, especially at the beginning of one's career, to become visible and to get past the gatekeepers of the institutions. It was founded out of solidarity and our ongoing interest in the practice of other artists.
The books are regularly shown at international Art Book Fairs (e.g. Cologne Art Book Fair, Super Books Munich, New York Art Book Fair, L.A. Art Book Fair, FLAT Art Book Fair Turin and many more) and are part of collections and libraries, e.g. Thomas J. Watson Library at the Metropolitan Museum (NYC), Joan Flasch Artists' Book Collection (Chicago), Weserburg (Bremen).
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pause/play, Hammann von Mier, 2015, site specific installation/publication/video @ Academy of Fine Arts Munich
Interweaving of sulptural performance and graphical image development. A plastered and painted field in DIN A ratio serves as field of action and a mega layout space. Using their stock material Hammann von Mier develop new sculptural sets. The player on the field gives the impulse and choses the material, the other player on the gallery directs the image and documents it. A selection of these images was put into the format of a publication. During the exhibition the field stays empty. In the video piece Hammann von Mier are synchronously carrying out an always consistent series of hand movements referring to choreographies of mechanical production, an unreadable code. If an error occurs, the series has to be paused or re-started.

Hammann von Mier, collective, since 2013