{"id":7437,"date":"2025-01-15T09:12:22","date_gmt":"2025-01-15T08:12:22","guid":{"rendered":"https:\/\/quivid.de\/?p=7437"},"modified":"2025-04-29T15:29:36","modified_gmt":"2025-04-29T13:29:36","slug":"ps-horsepower","status":"publish","type":"post","link":"https:\/\/quivid.de\/en\/ps-horsepower\/7437\/","title":{"rendered":"PS (Horsepower)"},"content":{"rendered":"","protected":false},"excerpt":{"rendered":"","protected":false},"author":10,"featured_media":7444,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":""},"categories":[138],"district":[163],"access":[193],"accessibility":[131],"space":[132],"year":[248],"gender":[137],"class_list":["post-7437","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-skulptur-plastik","district-maxvorstadt","access-oeffentlich-zugaenglich","accessibility-barrierefrei-zugaenglich","space-aussenraum","year-248","gender-w"],"link_en":"https:\/\/quivid.de\/en\/\/en\/ps-horsepower\/7437","acf":{"werk_qv_id":"","werk_artist":[{"werk_artist_name":"Bircken","werk_artist_surname":"Alexandra","werk_artist_gender":"w"}],"werk_artists":[{"ID":7436,"post_author":"10","post_date":"2025-01-15 09:12:06","post_date_gmt":"2025-01-15 08:12:06","post_content":"Alexandra Birckens skulpturale Praxis geht vom Material und seinen sozialhistorischen Bedingungen und Bez\u00fcgen aus. Sie befragt die materiellen Eigenschaften von Objekten, ihren Umgebungen und Anwendungskontexten und ist daran interessiert, herauszuarbeiten, wie ein Objekt funktioniert und welchen Gebrauchsbestimmungen es unterliegt. Welche Verhaltensweisen und K\u00f6rperhaltungen erzeugt seine Benutzung, welche kulturellen Konnotationen wohnen seinen Verarbeitungsweisen, Oberfl\u00e4chen und Texturen inne? Bircken gibt sich den \u00e4sthetischen und kulturellen Verstrickungen der Dinge des Alltags hin \u2013 ohne ihnen eine These oder ein Statement aufzuerlegen, folgt sie den in ihnen konzentrierten Spannungen, die sie offenlegt und dekonstruiert. Ihr Vorgehen ist dabei prozessbasiertes Experiment, ergebnisoffene Untersuchung, mitunter intuitive Bricolage. \u00dcber die Jahre etablierte sie ein differenziertes bildhauerisches Vokabular, in dem sich unterschiedliche Elemente und Ausdrucksformen in neuen Konstellationen wiederholen und transformieren.\r\n\r\nAlexandra Bircken lebt und arbeitet in Berlin und D\u00fcsseldorf. Ihre Arbeiten wurden in zahlreichen Einzel- und Gruppenausstellungen gezeigt, darunter in der Fondation Pernod Ricard, Paris (2022), im Museum Brandhorst, M\u00fcnchen (2021), im KINDL - Centre for Contemporary Art, Berlin (2021), in der Secession, Wien (2019), bei der 58. Biennale di Venezia (2019), im Studio Voltaire, London (2011), im Haus der Kunst, M\u00fcnchen (2011), im Sculpture Center, New York (2012) und im New Museum, New York (2007). Von 2018-2023 hielt sie einen Lehrstuhl f\u00fcr Bildhauerei an der Akademie der bildenden K\u00fcnste M\u00fcnchen inne, seit 2023 leitet sie eine Bildhauereiklasse an der Kunstakademie D\u00fcsseldorf.\r\n\r\nZUR WEBSEITE DER K\u00dcNSTLERIN<\/a>","post_title":"Alexandra Bircken","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"alexandra-bircken","to_ping":"","pinged":"","post_modified":"2025-08-05 10:32:50","post_modified_gmt":"2025-08-05 08:32:50","post_content_filtered":"","post_parent":0,"guid":"https:\/\/quivid.de\/?post_type=artist&p=7436","menu_order":15,"post_type":"artist","post_mime_type":"","comment_count":"0","filter":"raw"}],"werk_location_district":"Maxvorstadt","werk_location_address":"Oskar-von-Miller-Ring N\u00e4he Haus-Nr. 35, 80333 M\u00fcnchen","werk_location_longitude":"48.1456549975208","werk_location_latitude":"11.5771887676999","werk_material":"Stahl, Edelstahl, Lack, L 900 x T 160 x H 400 cm
\r\nStudio Violet (Projekt- und Produktionsleitung)","werk_technical_data":"","werk_technical_data_en":"","werk_client":"Landeshauptstadt M\u00fcnchen, Baureferat","werk_visibility":true,"werk_map":true,"werk_parts":"","werk_institution":"","werk_architect":"","werk_architect_landscape":"k\u00fcbertlandschaftsarchitektur, M\u00fcnchen","werk_photograph":"Peter Neusser","werk_author":"Dr. Monika Bayer-Wermuth","werk_txt_long_en":"

Galloping to a standstill. Alexandra Bircken\u2019s “PS (Horsepower)”<\/p>\n

The human desire to move more rapidly than one\u2019s own physique allows is ages-old. For perhaps just as long, the horse \u2013 at least on land \u2013 has been the central means of fulfilling this desire. It is not entirely clear when humans first rode a horse, but evidence of this dates back to around 3000 BC. The relationship between man and horse is an exceptional one, characterized by both intimacy and dominance, and it has countless ramifications: from the war horse and work horse to the therapy horse. The history of the hobby horse goes back almost as far as the history of riding, with documentation of this going as far back as Ancient Greece. Once a popular activity for children and others, the hobby horse is now experiencing a renaissance even among adults. The term \u201chobby\u201d itself \u2013 in both in German and in English \u2013 refers to and symbolizes special skills and passions.<\/p>\n

This deep-rooted enthusiasm and the horse\u2019s significance have also become symbols of auto-mobility: from the term \u201chorsepower\u201d to iconic brands such as the Ford Mustang and Ferrari\u2019s Cavallino Rampante. Yet, what happens when one of these great symbols crumbles, collapses? When the proud or playful steed \u2013 whether made of flesh, wood or metal \u2013 can no longer gallop, lead or be led? What happens to the human-horse-machine relationship and to our belief in progress? Alexandra Bircken addresses precisely this form of moment in her work “PS (Horsepower)”, a sculpture of a broken miniature horse that now towers over the western entrance to the Altstadtringtunnel.<\/p>\n

In Munich\u2019s city center, Bircken\u2019s sculpture now joins company with the numerous equestrian statues symbolizing power and progress. Yet, while Otto I of Wittelsbach in the Hofgarten looks down on passers-by from above with a condescending gaze, and Maximilian I of Bavaria on Wittelsbacher Platz relentlessly stretches his hand towards the sky, “PS (Horsepower)” does not indicate a triumph, but a standstill. The broken horse refuses to dominate. It remains neither a seat nor a throne, and it does not become a guardian of power. In its fracture, progress is exposed as an illusion; mobility and dominance lose their relevance. Only the hinge that connects the two parts of the sculpture hints at a possibility for transformation, perhaps through technology or a new perspective.<\/p>\n

The exploration of the horse and its various meanings and embodiments \u2013from a toy to a means of transportation to symbol of progress \u2013 characterizes Bircken\u2019s sculptural practice. This exploration began in the late 2000s with works such as “Pferdchen” (2008), a rocking horse wrapped in a crochet net. It also finds expression in the trend-setting series of sawn-up and re-collaged motorcycles such as “Lop Lop” (2014) and “Interceptor II” (2016). The technically-complex sawn-up or rebuilt racing models reveal the inside of the machine, whose organ-like structure allows analogies to be drawn with the human organism. Humans and machines do not stand in competition to one another; rather, they are conceived as interlocking entities, such as in the human-horse relationship. The machine is constructed as a prosthesis, while the human being remains a slow and cumbersome creature without its mechanical extensions. Conversely, the absence of a human body implies a standstill for the machine, a void waiting to be filled.<\/p>\n

The positioning of “PS (Horsepower)” in a high-traffic area reinforces this reference. Drivers look out of their powerful vehicles at the broken horse, which also symbolically marks the end of the combustion engine. The organic man-machine relationship as it was conceived in the 20th century recedes into the background. What will take its place remains to be seen; perhaps the neighboring State Ministry for Digital Affairs is already working on an answer. In any case, the employees standing at the window were already giving the sculpture a thumbs\u2019 up during its installation.<\/p>\n

Bircken\u2019s broken horse not only marks an end; it also invites us to think about new beginnings, for machines, power and people.<\/p>\n","werk_img":[{"ID":7443,"id":7443,"title":"quivid-muenchen-alexandra-bircken-ps-horsepower-kunst-am-bau-2024-03","filename":"quivid-muenchen-alexandra-bircken-ps-horsepower-kunst-am-bau-2024-03.jpg","filesize":453086,"url":"https:\/\/quivid.de\/wp-content\/uploads\/quivid-muenchen-alexandra-bircken-ps-horsepower-kunst-am-bau-2024-03.jpg","link":"https:\/\/quivid.de\/en\/ps-horsepower\/7437\/quivid-muenchen-alexandra-bircken-ps-horsepower-kunst-am-bau-2024-03-2\/","alt":"","author":"10","description":"","caption":"","name":"quivid-muenchen-alexandra-bircken-ps-horsepower-kunst-am-bau-2024-03-2","status":"inherit","uploaded_to":7437,"date":"2025-01-10 11:46:32","modified":"2025-04-09 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Im Galopp zum Stillstand. Alexandra Birckens \u201ePS (Horsepower)\u201c<\/p>\n

Die menschliche Sehnsucht, sich schneller fortbewegen zu k\u00f6nnen, als es die eigene Physis erlaubt, reicht Jahrtausende zur\u00fcck. Ebenso lange war das Pferd \u2013 zumindest zu Land \u2013 das zentrale Mittel, um diese Sehnsucht zu erf\u00fcllen. Wann der Mensch zum ersten Mal ein Pferd geritten hat, ist nicht vollst\u00e4ndig gekl\u00e4rt, doch erste Belege datieren etwa auf 3000 vor Christus. Die Beziehung zwischen Mensch und Pferd ist eine besondere, gepr\u00e4gt von N\u00e4he und Dominanz, und sie hat unz\u00e4hlige Ver\u00e4stelungen: vom Kriegspferd \u00fcber das Arbeitspferd bis hin zum Therapiepferd. Fast ebenso lange wie die Geschichte des Reitens reicht die des Steckenpferds zur\u00fcck, die bis ins antike Griechenland dokumentiert ist. Einst eine beliebte Besch\u00e4ftigung nicht nur von Kindern, erlebt das Steckenpferd heute sogar unter Erwachsenen eine Renaissance. Der Begriff selbst \u2013 sowohl im Deutschen als auch im Englischen, wo das Steckenpferd als \u201ehobby\u201c bezeichnet wird \u2013 steht symbolisch f\u00fcr besondere F\u00e4higkeiten oder Leidenschaften.<\/p>\n

Diese tief verwurzelte Begeisterung und die Bedeutung des Pferdes sind auch zu Sinnbildern f\u00fcr Automobilit\u00e4t geworden: von den \u201ePferdest\u00e4rken\u201c bis hin zu ikonischen Marken wie dem Mustang oder dem Cavallino Rampante von Ferrari. Doch was geschieht, wenn eines dieser gro\u00dfen Symbole in sich zusammenbricht? Wenn das stolze oder spielerische Ross \u2013 ob aus Fleisch, Holz oder Metall \u2013 nicht mehr galoppieren, nicht mehr f\u00fchren oder gef\u00fchrt werden kann? Was passiert mit der Mensch-Pferd-Maschine-Beziehung und mit unserem Fortschrittsglauben? Alexandra Bircken greift genau diesen Moment in ihrer Arbeit \u201ePS (Horsepower)\u201c auf, einer Skulptur eines gebrochenen Miniaturpferdes, das nun \u00fcber der westlichen Einfahrt in den Altstadtringtunnel thront.<\/p>\n

In der M\u00fcnchner Innenstadt reiht sich Birckens Skulptur nun zwischen die zahlreichen Reiterstandbilder ein, die Macht und Fortschritt symbolisieren. Doch w\u00e4hrend Otto I. von Wittelsbach im Hofgarten mit herablassendem Blick von oben auf die Passant:innen schaut und Maximilian I. von Bayern am Wittelsbacher Platz unabl\u00e4ssig seine Hand gen Himmel streckt, markiert \u201ePS (Horsepower)\u201c nicht Triumph, sondern Stillstand. Das gebrochene Pferd verweigert sich der Dominanz. Es bleibt weder Sitz noch Thron, es wird kein Tr\u00e4ger von Macht. In seinem Bruch wird Fortschritt als Illusion entlarvt, Mobilit\u00e4t und Dominanz verlieren ihre Relevanz. Nur das Scharnier, das die beiden Teile der Skulptur verbindet, deutet ein Potenzial zur Transformation an \u2013 vielleicht durch die Technik, vielleicht durch eine neue Perspektive.<\/p>\n

Die Auseinandersetzung mit dem Pferd und seinen Bedeutungen \u2013 vom Spielzeug \u00fcber das Fortbewegungsmittel bis hin zum Fortschrittssymbol \u2013 zieht sich durch Birckens skulpturale Praxis. Bereits in den sp\u00e4ten 2000er Jahren, mit Arbeiten wie \u201ePferdchen\u201c (2008), einem mit H\u00e4kelnetz umh\u00fcllten Schaukelpferd, beginnt diese Erkundung. Sie findet ihren Ausdruck auch in den richtungsweisenden Serien zers\u00e4gter und re-kollagierter Motorr\u00e4der wie \u201eLop Lop\u201c (2014) oder \u201eInterceptor II\u201c (2016). Die technisch aufw\u00e4ndig zers\u00e4gten oder umgebauten Rennsportmodelle offenbaren das Innere der Maschine, deren organhafte Struktur Analogien zum menschlichen Organismus erlaubt. Mensch und Maschine stehen dabei nicht in Konkurrenz, sondern werden als ineinandergreifende Entit\u00e4ten gedacht \u2013 wie in der Mensch-Pferd-Beziehung. Die Maschine ist als Prothese konstruiert, w\u00e4hrend der Mensch ohne seine maschinellen Erweiterungen ein langsames, schwerf\u00e4lliges Wesen bleibt. Umgekehrt bedeutet das Fehlen eines menschlichen K\u00f6rpers f\u00fcr die Maschine Stillstand, eine Leerstelle, die darauf wartet, gef\u00fcllt zu werden.<\/p>\n

Die Positionierung von \u201ePS (Horsepower)\u201c an einer verkehrsrelevanten Stelle verst\u00e4rkt diesen Bezug. Autofahrer:innen blicken aus ihren PS-starken Fahrzeugen auf das gebrochene Pferd, das symbolisch auch das Ende des Verbrennermotors markiert. Die organische Mensch-Maschine-Beziehung, wie sie im 20. Jahrhundert gedacht wurde, tritt in den Hintergrund. Was an ihre Stelle tritt, bleibt offen \u2013 vielleicht entwickelt man im benachbarten Staatsministerium f\u00fcr Digitales bereits eine Antwort. Die Daumen der am Fenster stehenden Mitarbeiter:innen gingen w\u00e4hrend der Aufstellung der Skulptur jedenfalls schon hoch.<\/p>\n

Birckens gebrochenes Pferd markiert nicht nur ein Ende, sondern fordert auf, \u00fcber neue Anf\u00e4nge nachzudenken \u2013 f\u00fcr Maschinen, Macht und Menschen.<\/p>\n","werk_txt_context":"

Das Kunst am Bau-Projekt \u201ePS (Horsepower)\u201c von Alexandra Bircken entstand im Rahmen der Neugestaltung der Freifl\u00e4chen am Oskar-von-Miller-Ring, die nach der Sanierung des Altstadtringtunnels realisiert werden. Bei einem konkurrierenden Planungsworkshop zur Gestaltung der Freifl\u00e4chen wurde der Entwurf von k\u00fcbertlandschaftsarchitektur zur Realisierung ausgew\u00e4hlt mit der Empfehlung, die Freifl\u00e4chen mit ihrer gro\u00dffl\u00e4chigen Baum-, Stauden- und Gr\u00e4serbepflanzung mit einem Kunstwerk zu erg\u00e4nzen. Bei einem Wettbewerb mit f\u00fcnf K\u00fcnstler:innen jeweils in Zusammenarbeit mit einer\/m Tragwerksplaner:in wurde 2021 der Entwurf von Alexandra Bircken zusammen mit Studio Violet und ArtEngineering GmbH von der Kommission f\u00fcr Kunst am Bau und im \u00f6ffentlichen Raum zur Realisierung empfohlen. Die Realisierung des Kunstwerks wurde vom M\u00fcnchner Stadtrat 2022 beschlossen und vom Kulturbaufonds M\u00fcnchen gef\u00f6rdert. Die Gesamtma\u00dfnahme inklusive der Wiederherstellung der Oberfl\u00e4chenfahrbahnen, Anlage der baulichen Radwege und der Neugestaltung der Freifl\u00e4chen am Westportal wird voraussichtlich Ende 2025 fertiggestellt.<\/p>\n","werk_collections":[{"ID":7696,"post_author":"5","post_date":"2025-02-17 18:57:42","post_date_gmt":"2025-02-17 17:57:42","post_content":"","post_title":"QUIVID-Review #2","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"quivid-review-2","to_ping":"","pinged":"","post_modified":"2025-04-29 15:58:58","post_modified_gmt":"2025-04-29 13:58:58","post_content_filtered":"","post_parent":0,"guid":"https:\/\/quivid.de\/?post_type=collection&p=7696","menu_order":11,"post_type":"collection","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":7699,"post_author":"5","post_date":"2023-05-08 13:28:18","post_date_gmt":"2023-05-08 11:28:18","post_content":"","post_title":"Last realized","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"zuletzt-realisiert","to_ping":"","pinged":"","post_modified":"2025-04-28 16:19:34","post_modified_gmt":"2025-04-28 14:19:34","post_content_filtered":"","post_parent":0,"guid":"https:\/\/quivid.de\/collection\/zuletzt-realisiert\/","menu_order":1,"post_type":"collection","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":7702,"post_author":"5","post_date":"2022-08-02 13:25:19","post_date_gmt":"2022-08-02 11:25:19","post_content":"","post_title":"Public places (selection)","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"oeffentliche-plaetze","to_ping":"","pinged":"","post_modified":"2025-04-28 16:22:08","post_modified_gmt":"2025-04-28 14:22:08","post_content_filtered":"","post_parent":0,"guid":"https:\/\/quivid.de\/collection\/oeffentliche-plaetze\/","menu_order":8,"post_type":"collection","post_mime_type":"","comment_count":"0","filter":"raw"}],"werk_sort_data_artists":"Alexandra Bircken","werk_sort_data_district":"Maxvorstadt","werk_sort_data_year":"2024","werk_sort_data_access":"\u00f6ffentlich zug\u00e4nglich","werk_sort_data_category":"Skulptur \/ Plastik","werk_year":""},"featured_image_src_1280":"https:\/\/quivid.de\/wp-content\/uploads\/quivid-muenchen-alexandra-bircken-ps-horsepower-kunst-am-bau-2024-04.jpg","featured_image_src_768":"https:\/\/quivid.de\/wp-content\/uploads\/quivid-muenchen-alexandra-bircken-ps-horsepower-kunst-am-bau-2024-04-768x1152.jpg","artists":[{"name":"Alexandra Bircken","url":"https:\/\/quivid.de\/en\/artist\/alexandra-bircken\/"}],"tax_category":"Skulptur \/ Plastik","tax_access":"\u00f6ffentlich zug\u00e4nglich","tax_district":"Maxvorstadt","tax_year":2024,"_links":{"self":[{"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/posts\/7437","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/users\/10"}],"replies":[{"embeddable":true,"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/comments?post=7437"}],"version-history":[{"count":13,"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/posts\/7437\/revisions"}],"predecessor-version":[{"id":7732,"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/posts\/7437\/revisions\/7732"}],"acf:attachment":[{"embeddable":true,"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/media\/7441"},{"embeddable":true,"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/media\/7439"},{"embeddable":true,"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/media\/7443"}],"acf:post":[{"embeddable":true,"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/artist\/7436"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/media\/7444"}],"wp:attachment":[{"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/media?parent=7437"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/categories?post=7437"},{"taxonomy":"district","embeddable":true,"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/district?post=7437"},{"taxonomy":"access","embeddable":true,"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/access?post=7437"},{"taxonomy":"accessibility","embeddable":true,"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/accessibility?post=7437"},{"taxonomy":"space","embeddable":true,"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/space?post=7437"},{"taxonomy":"year","embeddable":true,"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/year?post=7437"},{"taxonomy":"gender","embeddable":true,"href":"https:\/\/quivid.de\/en\/wp-json\/wp\/v2\/gender?post=7437"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}