His work is based on photography, extends to installation, text, sculpture and video, and explores the relation between pictorial and exhibition space. His works are thematically diverse, whereby questions of autonomy, sovereignty and mutual dependency, especially in human-animal relationships, and the destructive consequences of human economy are recurring subjects. Starting from photography, he usually develops large installations in which the images are extended into space through architectural interventions and sculptural elements. Text also plays an important role in his work, either as part of the images, title or accompanying wall text. He always emphasises the visual aspect of his concept-based works.
Maak has also been cooperating with filmmaker and artist Lasse Lau for many years. Together they've been enquiring into the history of queer protests and the relationship between sexuality and food, whereby John Harvey Kellogg, as the inventor of cornflakes, a pronounced opponent of masturbation and patent holder of a chastity belt, has taken up a broad space in their joint works.
During the bangaloREsidency, Flo Maak plans to further develop his project “seascapes”, which explores the worldwide network of the seas and its role in the transmission and transformation of life forms and forms of life. To this end, he will explore the port and beaches of Kochi and work with local experts.
Selected solo exhibitions include “Technologies of the Kitchen” at Pro Arts, Oakland (2017), “Friendly Patterns” at gallery Bernhard Knaus, Frankfurt (2017), “In/Off The Grid” at 공간291, Seoul (2016), “DANGER” at Corner Art Space, Seoul (2015), “-graphie” at von Cirne, Cologne (2013), "Nichts tun wie ein Biest" at Bielefelder Kunstverein (2009), "Trompe-l'eil Polizei" at Frankfurter Kunstverein (2008) and "silent specters" at JET, Berlin (2006). Selected group exhibitions include “Europe in China” at Sculpture Museum, Quingdao (2017), “On the Possibility of Life in Ruins” at Huset for Kunst og Design, Holstebro (2017), “Scattered Showers” at Frankfurter Kunstverein (2013), “After Prisma” at Villa Romana, Florence (2011) and "I Animal! (You Human)" at Perla Mode, Zurich (2010).
Final Report
Arriving in Bangalore, the KR flower market impressed me a lot. While I could only slowly move along with masses of people between the market stalls, the tarpaulins, stretched out above us for protection against sun and rain, constantly changed their shape in the wind and coloured everything below them red.
During my research I came across a plant that is considered invasive in Kerala and which immediately fascinated me because of its name. In Malayalam, the local language, it is called Communist Pacha, whereby Pacha is best translated as green. In biological taxonomy it is listed under the name Chromolaena odorata. The local names of plants often also refer to the importance and benefits that the plant has for the local population. For example, Chromolaena odorata is called Devil's Weed in Australia and other places, which clearly shows how much it is hated there. Often local names of introduced species refer to distant places to emphasise their strangeness. In Germany, the same plant is called Siamkraut and in many English-speaking countries Siam Weed. Until 1939, Siam was the name of a country which largely corresponds to today's Thailand. But the plant originally comes from Central and South America. Seen from Europe, both Southeast Asia and South America are far away and – as we know well – the colonial view has confused East and West before.
My work is not finished yet and I will continue to edit my photographs and video recordings over the next few months, as well as continue my research, before presenting my finished work in the Pepper House Residency exhibition during the Kochi-Muziris Biennale in December 2020. I would like to thank the Goethe-Institut / Max Mueller Bhavan, namely Dr. Claus Heimes, Maureen Gonsalves and Riya Matthew and the team of the Kochi Biennale Foundation, and especially Jith Joseph and Gautam Das for their great support.