Alice Creischer and the osmotic pressure of weath, contemplating poverty, via Potosi…

I’m seeking to co-organize an extended interaction with
Alice Creisher who spoke at the Colab Geothe lecture on Thursday.Here is a description of her from the lecture series:

Alice Creischer (Berlin, 1961) is an artist, writer and curator. Her most recent exhibitions are “The Potosí Principle” (with Andreas Siekmann and Max Jorge Hinderer) at Reina Sofia, Madrid; House of World Cultures, Berlin; and Museo Nacional, La Paz (2010 – 2011), as well as “Apparatus for the Osmotic Pressure of Wealth During the Contemplation of Poverty”, MACBA, Barcelona, 2008. Her work was shown in Documenta 12.
“Alice Creischer´s work continuously negotiates the relation between subjects and society… and their ability to act within it. Her central concerns since the mid-1980s have been the examination of political issues by artistic means, and closely intertwined with this, ethics, which she understands as a moral imperative to strive for enlightenment…
Creischer´s projects range from individual works – mostly in performance and installation – to collaborative productions with other artists and cultural practitioners, curatorial projects and critical writing.” Ellen Blumenstein, Afterall Magazine 1, 2010

Here is a link to the lecture which centres around two of her projects: ‘the Potosi Principle’ and ‘Apparatus for Osmotic Compensation of the Pressure of Wealth During the Contemplation of Poverty’.

I’m really keen on having an extended interaction with these projects and her rich body of work, because it looks at issues relevant to the third world such as migrant labour and poverty…These are some links from my research about the projects:

The Potosi Principle:

Coverage of the show on

A video on the show:

‘Apparatus for Osmotic Compensation of the Pressure of Wealth During the Contemplation of Poverty’

about a piece from ‘Apparatus..’
The “experimental method” of the images on display here repeats again and again a situation to which there is no solution. It makes out that it’s able to build an instrument: an instrument to compensate the osmotic pressure of wealth when considering poverty. We must not identify poverty with the countries that I have travelled, and wealth with Europe, as if here there were no poverty and over there no wealth. On the other hand however, among these countries there is a history of exploitation which has carried them in an unmistakable direction, and a history of projections and nostalgia for the exotic which goes the opposite way. This history is part of the person who is watching, but she shares it with those who watch her.