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“Not from Mont Pèlerin”
“42”
“Turkey”
“Predator”
“Siegfried”
“Der Sturz” (The Fall)
“Die Lösung” (The Solution)
“Drei” (Three)
“Dschungel” (Jungle)
“Kreidezeit” (Chalk Age)
“Leise” (Piano)
“Crispr”
“E-Werk”
“Beauty of the Beast”
“Chelsea Art Fairy”
“Hide-and-Seek”
“Farbnacht” (Night of Colors)
“Freaks”
“Harry”
“Der Ratgeber” (The Adviser)
“The Next”
“Il Principe”
“Let's Dance”
“Die Kitschpantoffeln” (The Kitschy Slippers)
“Großer Reformat” (The Big Reform Machine)
“Charlie's Empire”
“Wolkenburger Wäscheleinen” (Cloud Castle’s Clothes Lines)
“Wolken Malen” (Painting Clouds)
“Wolkenburger Land” (Cloud Castle’s Countryside)
“Captain”
“Night”
“Die Sächsinnen” (Saxonian Ladies)
“Der Schlangenprinz” (The Snake Prince)
“In the Year 2026”
“Making Nature”
“Wiener Mut” (Courageous Vienna)
“Jugend” (Youth)
“Erich”
“Self”
“Totem”
“Großer Reformat” (The Big Reform Machine)
“Großer Reformat” (The Big Reform Machine)
"Großer Reformat" (The Big Reform Maschine) was created Jun. 05 - Oct. 05 with "Painter" (Metacreations). It is ca. 50% based on a sketch, date 06-06-05 (Lecture, WZB Berlin)  Print: Piezo-Print on Somerset Velvet Size: Paper: 50x35 cm, Picture: 42x28 cm Copies: 25, numbered and signed, and 5 artist's copies (I-V) Price: 400.‒ Euros Artist: Björn Dämpfling
If this title makes one think about „political reforms“, that’s o.k., but thoughts of “political sadomasochism” are fine too. That a digitally manipulated photo of a computer board is used as background is all but accidental. After this creature—as is so often the case in my works—was jotted down on a piece of paper while listening to a social science lecture, and only while I was working it out with the computer, the first addition were those ropes creating bondages that came as a result of understanding the content of my sketch. The final stage was set when I merged the computer board and the figure. I consider this an equitable valuation of a policy circus, relentlessly invoking the future and rapid progress, as well as, with the same speed, tying down necessary reforms. Lots of voters are just like that because any change involves risk, so this “Great Reform Machine”—while still being a cheerful figure—also has a realistic aspect to it. For me this fact only gave me an idea for the title. And for the next art show with a political motto I can pull something from the closet, kind of as I did in a show about “Count Dracula” when I took my “Prof. Trust…” to the exhibit, because of the little tooth. To me the figure is just a weird bonded guy with a lot of visualized wit and for me that’s enough.