Steffen Kasperavicius is a German visual artist born in 1979 in Sigmaringen. Working with sculpture, installation, sound, video and found objects, Kasperavicius moves fluidly between mediums, creating alter-egos and entering creative partnerships as outlets for his prolific practice.
He is educated webdesigner and studied media arts at Burg Giebichenstein University of Art and Design from 2004 to 2009, where he graduated with a theme about experimental generation of disappointment in art context at the class of Prof. Ute Hörner.
Since 2009 he founded the curation project Arsène Fever Gallery and graphic studio VVIRE, he initiated and cooperates in several conceptual artist groups like ETAW (Exit Through A Wormhole) and Die Müden Drei and creates works under a pseudonymous name Achim Horn, which go different and experimental ways, contrary to his own oevre.
In several thematical areas, Steffen Kasperavicius constructs relationships between irritation and disappointment, between the familiar and the unknown, between fiction and reality. Familiar icons, equipment and structures are manually or digitally manipulated and reinterpreted theoretically, committed to a context shift. The works, which result by concentrated and longterm organised collections of ideas or archives, are confronting the audience with sculpture and video, installative interventions or with the archive itself. Unrealisability and failure are equally focussed in his work and synonymiously treated like realised concepts. Consequently, he opens a constant discourse to which every artwork is subjugated, to question about solutions of technique, execution and rhythm as well as thematical content like absence, time manipulation, art-historic links, space/architecture and (anti)interaction.
Contrary, Steffen Kasperavicius established a completely opposite view to his „own“ work by creating an alter ego named Achim Horn. Horn’s works are full of infantile energy, pop and commerce, while he pointedly caricatures, translates and ironises current social circumstances by transforming processes in model-like situations, in pictorial or sculptural states. This symbiosis of artist and his “evil twin” enhances the effect of both attitudes greatly by getting insight into a multi-layered reflection of the artist. At the same time, the anonymity of the pseudonym opens up an experimental field of artistic approaches and unconventional ideas.
His conceptual cooperation ETAW with Jorge Lopes, a Portuguese painter, examines the character and worth of expelled and unfunctional materials. The resulting sculptural objects are thereby moved into an art context which thematizes this socio-critical aspect by transformation and dissolution and shows an artistic attitude which distrusts the permanence and static. The focus lies on a close but temporary collaboration of exchange, discussion and composition to combine both talents.
Since 2010 Kasperavicius and his alter ego are presented by Galerie Thomas Cramer, Berlin.