Matthias Einhoff was born Hildesheim (1972) and lives in Berlin. After training as a cabinetmaker, he studied at the Berlin University of the Arts and Central St. Martins College in London. As an artist, composer and performer, he is interested in the intersection of art, popular media and everyday life. He utilizes photography, video and performance to distill media culture into abstract artifacts. In public performances which assume the guise of media spectacles, Einhoff triggers atypical relationships between community groups.
Einhoff works collaboratively and individually. He is a founding member of the art group,Superschool, which has developed projects such as the Kongress des Halbwissens, Superschool TVand Das Gesichtsbuch, which were performed at the Maxim Gorki Theater (2006-2010),Filmmuseum Potsdamer Platz (2005) and Caroussell du Louvre (2002). A first retrospective ofSuperschool videos was held at the Film Festival Winterthur (2007).
He has staged public projects in Lahore, Pakistan, Harburger Kunstverein, Hamburg and the Jaaga Creative Common Ground, India. His videos have been screened at various festivals including theViper, Emaf and Cracow Festival. Einhoff has also realized musical projects including Ragazzi, Commercial Breakup and Group of People on the music labels Buback, Staatsakt, Parfüm (Kompakt) and Ladomat. In past years, he has taught at the Berlin University of the Arts and Beaconhouse College of Art, Lahore, Pakistan. In 2010,
Einhoff was a recipient of the Berlin Senate artist grant. He is a co-founder of KUNSTrePUBLIK in which he has worked since 2006 as curator, artist, researcher and activist at Skulpturenpark Berlin_Zentrum and in other contexts, including Werkleitz Festival (Halle/Saale, 2010), id Barri(Barcelona, 2009), Vasl Arts (Pakistan, 2008) and the Berlin Biennial for Contemporary Art(2008).
Celebration | Berlin, 2009
Celebration, a public ceremony orchestrated by Matthias Einhoff, was dedicated to Berlin’s marginalized clubs and community groups. Einhoff personally invited various organizations including a garden community, dog association, BMX club, artists collective, and a group of urban farmers. Each was asked to design a flag, pick a song, and provide an image emblematic of their respective group. One-by-one, the flags were hoisted as a trumpeter played the club’s song. The fanfare unfolded, captured on cameras and enhanced by a high-powered wind-machine directed at the flags. Swept up in choreographies resembling an Olympic ceremony or Moon landing, the associations’ alternative activities stood in absurd contrast to the interests of mainstream media and concerns of urban developers. Celebration, situated on the Stallschreiberblock, the state-owned collection of lots, recognized the clubs’ need and creative use of open and vacant space. For the duration of the exhibition, Celebration created a temporary space dedicated to their activities.
Award for Everyday Achievement | Performance, Photo Bangalore, 2010
During his 2-month artist residency in Bangalore, Matthias Einhoff initiated the Award for Everyday Achievement. The award addressed three neighborhoods in Bangalore and asked their citizens to nominate other community members for micro-level achievements in making individual or community life better. On Wednesday the 6th of January at 6.30 p.m., thirty nominators handed over trophies and certificates to thirty nominees and unveiled a range of community-building activity in their neighborhoods. The award was accompanied by a dinner and professional photo shoot. The event gave the participants a chance to find out about each other’s activities. With award ceremonies usually celebrating entertainment, sports and business, this award was intended to honor small-scale acts in an unexpected way. The event was intended exclusively for the neighborhood and considered how art can engage in the public sphere and strengthen community awareness without exploiting or reevaluating existing systems. Beyond its social implications, the award brought forth an unexpected set of neighborhood stories and proposes a model for documenting the oral history of community life.
Brache | Berlin, video, 2006
In short sequences a camera moves across streets and wasteland. The seemingly unspectacular location is documented with spectacular camera shots. The urban wasteland is part of what was formerly the ‘Mauerstreifen’, the military zone within the Berlin Wall. Located between social housing, offices and the federal mint, it gives the impression of an unused, abandoned space. Over the years, the site has often changed its appearance: from being an urban center in the 1920-ties, to becoming the ‘Mauerstreifen’, to its use as ground for speculative real estate. The invisible historical and social layers of the site are visualized by the dynamic camera shots. The metonymy utilizes known techniques used in emotional overloaded news trailers, blockbuster movies and tv show openers.