Andreas Siekmann works conceptually; his works are concerned with city policies, economic criticism and criticism of policies relating to public spaces. The multi-part work in the evn collection uses various mediums to describe the conditions and representational methods of the World Economic Forum (WEF) in 2001 in Davos. The panel painting shows the military screening and exclusion of the globalisation critics; the record player, equipped with plastic and cardboard figures, carries the “buzz and clatter” of participants to the outside by means of an ear trumpet; the prints, on the other hand, isolate individual sequences in the scenario and clarify the “iconic trash of reproducibility” using comic-like representations. Andreas Siekmann generates a kind of counter-stage, one that takes up the ritualised and constructed world of economics as an actor and puts it on show.

Heike Maier, 2005 (translation: Tim Sharp)