Sandra Peters

Bauwelt, vol. 113, no. 16, August 2022, p. 56

NYUAD Humanities Research Fellowship for the Study of the Arab World

The video present, presentation, a presentation is made up of two cycles of images, opening with a series of thirty-eight different images of featherwork made by Indigineous peoples of South America.

The NYU Abu Dhabi Research Report: The Art of Research 10, 2019, 5–7.

Eikon, no. 104, November 2018, 91.

Flux Balance / Rotating Wings, Within: Without, and Ahoy are three slide projections engaged with Rudolph Schindler’s early work in architecture (1921–26). The first, Flux Balance / Rotating Wings, a projection of Schindler’s residence in West Hollywood…

Zabriskie Point is an exhibition project in which sixty-six rubber sculptures are to be placed in an interior space and/or an exterior one. Viewers stand within the installation, which extends like a field around them. Each of the sixty-six sculptures comprises two elements…

Modernism has been understood as a “grand narrative,” if only because that was the neat account its theorists fashioned of it; this account proved influential. It lent credence to efforts to unearth all—and there had been a whole lot—that had been excluded or marginalized…

Sound has been increasingly significant in Sandra Peters’s recent work. Yet it would be simplistic to call her output “sound art,” a label that, in the past twenty years, has come to designate a distinctive genre…

In 1920, Rudolph Michael Schindler arrived in Los Angeles to supervise the design and construction of a house for Aline Barnsdall under the distant direction of its master architect, Frank Lloyd Wright, who already had his hands full with the Imperial Hotel in Tokyo. Schindler was…

My preoccupation with Rudolph Schindler began in 2009 with the work Flux Balance / Rotating Wings (2010), which refers to the architect’s residence, located at 835 North Kings Road in West Hollywood, in a slide show (two projections with phased cross-fades)…

Südkurier, May 2, 2017.

Rebecca Pittam

Matthew Corcoran

Interface No. 1 takes the form of a cube whose sides are formed by parallel struts set at right angles to one another based on a grid composed of 8 x 8 fields. The struts produce a diagonal segmentation of each side. Hollow spaces between the struts allow views inside the cube.

Texte zur Kunst, no. 85, March 2012, 198–201.

Frantisek Zachoval

Press release Aanant & Zoo, Berlin, 2012

It is one thing to purchase Sandra Peters’s record as a multiple and to play it and listen to it on a turntable; it is other thing to hear the various tracks distributed across (at least) four loudspeakers and to experience in an installation how the sound evokes…

The installation Borrowed Window grew out of my intense engagement with the architecture of Rudolph Schindler. I developed the work in relation to the exhibition space at the Kunstsaele in Berlin but nonetheless independently of it. It is one of two window designs…

MAK/ZINE: Applied Arts/Architecture/Design, vol. 1, no. 1, 2011: 94–95, 126–27.

Texte zur Kunst, no. 78 (June 2010): 153–57.

The multi-family house on North Kings Road is laid out like a rotating wing. Four workrooms of equal size are anchored by a communal kitchen and flow in pairs around two garden areas meant as living rooms. The construction materials…

Since 2007, Sandra Peters, Ken Koch, and Marc Glöde have collaborated on various art and architecture projects. The conversation published here took place in Sandra Peters’s studio in August 2010. The objective of the conver­sation…

Watching a film is not the same as seeing it and wanting to know how it was made. The question is how what we see affects us. If we experience a film as particularly attractive or stimulating, then the question comes into play what can have such…

When Jun’ichuro Tanizaki published his essay “In’ei raisan” (translated as “In Praise of Shadows”) in 1933, he detected a fundamental difference between Western and Eastern cultures. For him, his difference lay above all in terms of two aspects…

The installation Brick Fabric is directly related to the central room on the ground floor of the Villa Aichele in Lörrach. The space is well suited to exhibitions; it is rectangular with 38 square meters of floor space and mea­sures 3.7 meters in height….

Oberbadische Zeitung, July 19, 2009.

Badische Zeitung, July 9, 2009.

Bauwelt, no. 22, June 2009, 4.

Badische Zeitung, June 27, 2009.

Westdeutsche Allgemeine Zeitung, May 8, 2009.

When Peter Friese invited Sandra Peters to develop a site-specific work for the Kunstverein Ruhr in Essen, he can hardly have suspected what awaited him. For the artist’s intervention affects not only the perception…

The art project Modifikation—stetig steigende Steine (Modification—Constantly Climbing Stones) at the Kunstverein Ruhr in Essen is an installation related to the exhibition space, in which two supporting square pillars were walled in using two distinct brick bonds…

Sandra Peters has designed an elaborate and at the same time clear installation for the exhibition space of the Kunstverein Ruhr on Essen’s Kopstadtplatz. She clad the two columns within the space with round bricks produced and burned…

General-Anzeiger Bonn, October 27, 2007.

General-Anzeiger Bonn, September 13, 2007.

Die Worte, die die traditionellen bildenden Künste bezeichnen – Zeichnung, Malerei, Skulptur, Architektur – , beziehen sich auf materielle Verfahren, die als konstitutiv für diese Künste angesehen wurden: das Setzen von Zeichen oder das Ziehen…