26/02/2016 – 12/04/2016
26/02/2016 18h-21h
Galerie Liusa Wang (15 boulevard Saint-Germain 75005 Paris)


Jan Vormann, born in 1983 in Bamberg – the ancient historical city in Bavaria. He pursued study in Berlin, Saint Petersburg. After acquiring a solid foundation of art history and restoration, he began to learn visual art and received the diploma of sculpture. Currently, Jan is settling down in the capital of Germany, concentrating on his creative, and fascinating installations: a bubble machine who can paint; a permanently swirling dice; a self-dissolving gear wheel… He devotes himself in designing and producing various objects or installations, poetize satires with industrial mechanism and deconstructive behaviors.

As the initiator of Dispatchwork, Vormann was gradually known by the public with colorful Lego bricks appearing in broken city walls. Lego bricks can perfectly fix up any cracks or holes on wall and leave beautiful map-shaped images through elaborated arrangements. “I travelled to quite a few cities, and tried all kinds of ways to reconstruct public spaces, in order to make them look better.” He searches for broken buildings, creating a quirky magical feeling by mixing heavily historical bricks and nostalgic Lego blocks. Today, more and more people are participating in this Dispatchwork project, which has evolved into a grand festival without border.

Vormann’s artwork is anchored on elaboration and exploration of “time”. The intensity of time is exposed through the slight movement of daily chores: a slowly swinging frame (Pirateship, 2009); an installation composed of sixteen gears marching in turn, the last one needs to wait for a year before it fully marches on (Slow revolution, 2008). For appreciating his artwork, the audience should be qualified with great patience, stare still at the horizon of those tiny materials. “It would be dishonest to claim timelessness in Jan Vormanns’ projects”, while acknowledging the nonlinearity of time, the value of instant, the beauty of vanishment is another way that Vormann “grasps” eternity into his works. Under the persistence of time is the fragility of objects: transience, destruction and death are all existing in his works.

Exaggerating the mechanism of ignored object becomes a way to resist and dissolve. Digging out the inner voice of the materials and sentimental values; the combination surpasses the time flux and material, and thus becomes the subject of memory, of art and of poetry.

Born with a Jewish mother, and with double nationalities as German and French, it is inevitable that Vormann talks a lot about the confrontation of nations and history in his works. He repels nationalism and simple identity definition; he makes fun of social mainstream sense, and causes temporary countercurrents. This is where the initiation of artwork like “Demake-up” (2008) fading color of national flags – the so-called nationalism is actually a white cloth in essence. “I’m the captain now” was inspired by the ancient myth “The Ferry of Charon” reflecting on contemporary profit chain of capitalism. Vormanns’ works do not belong to any territory, just like his travel, tracing through every part in the world.

Irregularity, which is a sum up by the artist himself: no definitions, no rules, no common senses. Irregularity is the reflection of this fragmented world, is a subtle boundaries between life and death in daily experience. With those grand subjects expressing in a humor, Vormann consists in presenting his philosophy:

“Nothing is too serious to poke fun about it, yet nothing is to be taken too lightly.”