Klimakleber – Nächste Generation

Campaign Video, Concept Art, 3D-Prints, Acrylics  |  21 × 21 × 30 cm  |  2025  


Bei der Nächsten Generation handelt es sich um eine Reihe von Plastiken, welche eine Hommage an die als Klimakleber in Verruf geratene Letzte Generation darstellt oder vielmehr die konsequente Fortführung ihrer Mission mit den Mitteln der Kunst.

Freely download your Print @ Home Klimakleber

Just click your favorite activist type to download and print 3D in every size, color or material. Klimakleber – Next Generation. Empowering reminders for everyone everywhere.

Or Choose a Klimakleber Collectors Edition

Free Basic Zeitgeist Enthusiast Avantgarde
 50% Donated x x x x x
 3D printed x x x x
 West Painted x x x
 50% Bigger x x
 10x Polygons x
Buy Ride Free Act Basic Zeitgeist Enthusiast Avantgarde
0 250 500 750 1.000

* All collectors editions come serialized certificate of authenticity and wear an official artist signature instead of the „jooki.de/klimakleber“ engravement. In addition they have 10 times more polygons than the freely downloadable figures.

** Half of the price for the collectors editions is donated to certified NGOs who’s work is preventing the climate crisis or are mobilizing for it and are using there or raising awareness about it.


Die entstandenen Figuren stehen hier zum kostenlosen Download bereit, quasi als DIY- oder “Print at Home”-Modelle für den heimischen 3D-Drucker. Ermöglicht werden soll die individuelle, basis-aktivistische Produktion von “Klimaklebern” und deren Verklebung an allen Orten, an denen es einer eindringlichen Erinnerung an die drohende Klimakatastrophe bedarf.

Im erweiterten ästhetischen Fokus der Arbeiten steht folgerichtig und reflexiv auch die Weigerung des Kunstbetriebs, sich seiner gesellschaftlichen Verantwortung im Kontext der Klimakatastrophe bewusst zu werden. Als sogenannte Guerilla-Plastiken fanden sich die Exponate mahnend fest verklebt auf den Ausstellungsflächen namhafter Berliner Galerien wieder, offenkundig entgegen dem durch Isensee offiziell lancierten künstlerischen Konzept “Only try this at Home”. Ob nun die Art-Bubble zu pikiert auf die Überwindung ihres elitär gatekeependen Charakters reagiert oder auf die darin mitschwingende Anklage der vorsätzlichen Verleumdung ihrer soziokulturellen Verantwortung oder ob die Zweckentfremder besser daran getan hätten vor ihrer eigenen Haustür zu kleben, als dies bleibt Gegenstand des fortlaufenden Diskurses und natürlich liegt die Wahrheit unbeachtet im Morast irgendwo zwischen Fronten.

Die Klimaaktivisten hatten sich jedenfalls schon Anfang 2025 im Zuge eines Richtungsstreits aufgelöst, der sich um den konfrontativen Akt des Festklebens auf dem rohen Asphalt der Straßen entsponnen hatte, die es zu blockieren galt. Der ikonische Gestus, welcher der Gruppe ungeahnte Aufmerksamkeit einbrachte, aber auch beispiellose politische und rechtsstaatliche Repressionen, soll durch diese Werkreihe in seiner synästhetischen Qualität gewürdigt werden. Natürlich wollten die Mahner  des kommenden Endes, viele schon mit einem halben Bein im Bau, auch der Anklage wegen Bildung einer vermeintlich kriminellen, gar terroristischen Organisation entgehen, eben durch die schlichte Auflösung eben dieser. Im erschütternden Angesicht der blindwütigen neoliberalen und neoautoritären Fantasien, in die sich die überwiegende Mehrheit der Bevölkerung vor der Wirklichkeit verkriecht, wirken Resignation und Apathie, welche die Klimabewegung jetzt ergriffen haben, wie plausible Realitätstreue.

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Novocene – A Possible Future

Interactive Mixed Reality Installation
Quest 3 MR headset and analog tree sculpture

Novocene unfolds an interactive narrative exploring humanity’s evolution through the Anthropocene — the era shaped by human impact, resource extraction and environmental devastation. Contrasting the realities of the emerging climate crisis with visions of technological utopia, the mixed reality experience immerses viewers into a reflective journey through layers of time and possibility.



The plot evolves around the analogue sculpture of a tree stump that is virtually regrowing to a new life as soon as the viewer puts on the mixed reality headset lying on the stump. After a wild ride through various perspectives and states of denial, agency and hope, the physical exhibition space is submerged beneath a rising, 3D-rendered sea level, making the consequences of environmental transformation viscerally present.

This condensed odyssey through a human-shaped epoch also interrogates the promises and perils of technological progress and artificial intelligence in addressing the planet’s most pressing crisis. Novocene poses a critical and poetic question: Can human culture, philosophy and art grasp, let alone respond, at all to a phenomenon of such a vast and existential dimension?


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Splatter


3D printed fluid simulations  |  PLA | 21 x 21 x 40cm | Read more…

Swipe The Flood Away

Tobias Bilgeri and Jens Isensee, 2024 | Interactive Video Installation


This interactive installation runs synchronously on 9 smartphones. The devices are fixed in a grid on a pedestal and a harmonious, virtual delirium initially plays out on their screens. The player can drift off into various AI-generated worlds and truths. However, this harmony is soon shattered by suddenly popping up disaster scenarios. Cell phone videos of devastating floods, such as those that have become rampant in the wake of the climate catastrophe in recent years, flood the screens like Instagram stories. Initially sporadically and then increasingly frequently, the ideal digital world is confronted with a harsh and brutal reality. In a way, AI simulations and disaster videos have the same hypnotic attraction. No wonder, since the field of tension between environmental dystopianism and AI tech utopianism is a field that is cultivated and harvested by the attention extractivism industry.

Paradoxically, the only action left to the player in these events is to swipe the disaster stories off the screen, as is familiar from social media apps. The hermetic game loop intensifies until the events flood all channels like a torrent. Here, the installation concept addresses how human consciousness tends to repress itself when overwhelmed by the complexity of the global situation, instead of moving into action. The escapist nature of media production and a belief in technology and progress that is as tempting as it is fatal are critically juxtaposed in the form of these lucid AI dreams. The simulation comes full circle when the question of the inevitability of this end finally appears on the screen and a new beginning is offered via swipe.

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Monthly Global Disasters

Media and news communicate global events with varying frequency and depth, but hardly anyone is able to continuously catch everything, let alone process it. Thus the colossal extent, the increase and vehemence of natural catastrophes remains hardly perceptible in its entirety and shall be shown in this composition.

Here is the complete playlist with all previous months.

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Limits of Growth | New photos

Interactive spacial video installation  |  Motion sensor, PC, short distance projector,
3D-software  |  2.7 × 1.8 × 4 m  |  2018

 

I just rediscovered photos from our group show Surviving the Fitness made made by Chris Becher. Thanks to him I got a bit of documentation from that exhibition in Kunstverein Wolfenbüttel. You’ll find more information about this interactive installation right here.

Kleinholz

Room installation | cardboard, paint, hot glue | 6 x 8 x 3 m

Artificial Answers

Short animation film | HD, 6:00 min | 2020

An animated speculation on whether and how artificial intelligence could answer existential questions of humanity.

The short film stages a search engine environment and the AI questioned in the plot gives its answers in the form of collages from documents, images, sounds and quotations from well-known philosophers and historical intellectuals. The real question remains whether machine learning can succeed in linking these many coherent and conflicting fragments on the meta-level into a new guiding principle that is able to answer the agonizing questions of our time.

This digital work was created in collaboration of Cat Scott (UK), Smruthi Gargi Eswar (IN) & Jens Isensee (GER) during the CoLab TechArt Fellowship 2020 with Jaaga, British Council India, Goethe Insitute Bangalore and was supported by Islington Mill.

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Reality Glasses

Experimental Short Film and Video Installation | carton, acrylic, hardware
0,6 × 0,7 × 0,5 m | 6:59 minutes | HD | 2022

Reality Glasses is an essayistic short film about how humans created their own realities ever since. In the installation version it can be viewed only on a specially constructed headset made of cardboard and acrylic lacquer with hardware components.

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Virtual Materialism

Interactive spacial video installation  |  Motion sensor, PC,
short distance projector, 3D-software  |  2.7 × 1.8 × 4 m  |  2019

In this interactive video installation up to 4 recipients are confronted with a virtual recreation of themselves out of objects and stuff. In a way they are becoming interactive ready-mades. The masks on the figures in the virtual mirror recite an acoustic collage of text fragments from the essay ’The Imaginary‘. It’s an early book by Jean-Paul Sartre which is a phenomenological study of human imagination. In it, Sartre distinguishes between perception and imagination which he identifies as humans ability for creating reality.

The work also has an immersive level. The viewers which are re-embodied out of objects and things, can move around and collect virtual coins that appear out of thin air in the virtual space. They even have to do it to sustain themselves, otherwise someone else wins and rest will disintegrate. This Win-Loose-Loop continues endlessly. The recipients could listen to the speakers, but the temptation to get lost in the spectacle is enormous. Also the exhibition environment is reconstructed in 3D to condense the experience of a reflection in this site-specific installation.

This project is a cooperation Jens Isensee and Rico Possienka. The installation is made with Kinect Sensor and Unity 3D and an ultra short distance projector connected to PC rendering hardware.

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Too Much

experimental animation | 2017 | 8:13 min | 1 trailer | 7 images | 411 words

This shortfilm is a disturbing experimental drift and a mediagrotesque about telecommunication as a medial game of powers. With a textcollage freely adapted from Nietzsche how Foucault has red him. While the view wounders through the zapped channels they start drifting away into an extatic overdrive. The subtitles are translating the medial noise into an atmospherical meta. A textual contemplation about how communication is becoming a question of force.

Watch video | Read more…

Wheelwork

4-channel video installation  |  LCD-screens, mini-PC, fans, carton, acrylic
0,8 × 0,7 × 1,3 m  |  2016

The Wheelwork is a 4-channel video installation made of cardboard with integrated LCD-screens. Through four apertures in this sculpture its simulated inner workings can be seen, a mechanism made of wooden gears that was filmed in the historic mill ensemble of Heiligenrode.


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Limits of Growth

Interactive spacial video installation  |  Motion sensor, PC, short distance projector,
3D-software  |  2.7 × 1.8 × 4 m  |  2018


Limits of Growth is an interactive spacial video installation with integrated motion sensor, PC hardware and a short distance projector. The sensor of this interactive installation detects the viewing angle of a spectator in front of the projection and the 3dimensional scenario is generated and displayed according to the recipients perspective. The viewers hand movements are captured as well and transferred into the virtual space. As light spots they float over the scenario and organic structures are sprouting at the corresponding places on projected wall.

The spectators interactions generate an organic structure which is growing excessively until its complexity reaches the systems rendering limits and the players interactions are shrinking structures again. The result is a vital and diverse play of prosperity and transgression in a closed, self-regulating sphere. The spectator is thus emancipated from his passive role to become the designer of an individual sculpture. After leaving space, the generative structure resets itself, making the sculpture temporary and processual. | Read more…

White Washing Parade

Figuren und Fundstücke, bemalt  |  Figures and finds, painted
2,2 × 1,3 × 0,5 m  |  2016   | Read more…

Wildnis

Group of Objects  |  Objektgruppe 
3 × 4 × 2 m  |  2016  | Read more…

Deutschland im Herbst

‘Germany in Autumn’  –  Found objects, carton, wood  |  Fundstücke, Karton, Holz
1,6 × 1,7 × 1,9 m  |  2016  | Read more…

2nd World

Map, carton, hot glue, acrylic |  ‚2. Welt‘, Landkarte, Karton, Heißkleber, Acryl
0,8 × 0,8 × 1,1 m  |  2016  | Read more…

Deformation

Interactive sculpture  |  Disco ball motors, motion detectors, acrylic, wood, carton
0,7 × 0,9 × 1,3 m  |  2016

This Installation detects movements and its extremities begin to deform in opposing rotations. The spectator becomes part of the process. | Read more…

Objects for Subjects


Carton, acrylic lacquer, hot glue  |  ‘Objekte für Subjekte’, Karton, Acryllack, Heißkleber
1,4 × 3,2 × 0,2 m  |  2016

Off, Over and Out

Wood, art prints, light chains, hot glue  |  2.4 × 1.6 × 0.3 m  |  2015 | Read more…

Homeland, values and blazons

‘Play’, ‘Hunt’, ‘Work’, ‘Dinos eat Jesus’ and ‘Rooster’ | Fireworks, game pieces,
christmas lights, horns, carton
| 0,7 × 0,7 × 0,4 m each | 2011 – 2016 | Read more…

Objective

Interactive video installation | VR, head tracking
0,6 x 0,6 x 2 m  |  2015 
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Channels

Modified hardware, Raspberry Pi, Arduino  |  0.6 × 0.6 × 1.4 m  |  2014 | Read more…

Ascent

cardboard, wood, hotglue, acrylic clear lacquer  |  2.8 x 1.5 x 1.2 m  |  2014 | Read more…

Transit

experimental animation | 2014 | 14:13 min | 3 images | 101 words | Read more…

Procedural Sculptures

Interactive Video Installation | asymetric cam projection | 3 images | 178 words | Read more…

Gegenwartsmühle

‘Mill of Presence’  |  Interactive video installation
Video game machine  |  0.6 × 0.6 × 2 m  |  2014 | Read more…

Ego Tunnel

Autonomous computer installation | PC hardware, cardboard | 1.2 × 1 × 0.8 m

The ego tunnel is an autonomous computer installation. An old PC system was dismantled and all components rebuilt into a new constellation. This newly configured system is only able to observe itself (through a webcam) and reproduce the image of itself in endless repetition. In this sense it is redundant and self-contained as though the system is similarly running a film of itself. This might vaguely be reminiscent of Thomas Metzinger, a philosopher involved in neuroscience who, in his book ‘The Ego Tunnel’ describes the human ‘Self’ as a self-illusion vigorously practised by human beings.


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Receivers


Printed cardboard, hardware, hot glue, paint  |  0.4 × 0.5 × 0.5 m  |  2012
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Pulpit

Cardboard, hot glue, paint, megaphone
1.5 × 1.2 × 0.8 m  |  2013 | Read more…

Neo Kuben

‘Neo Cubes’  |  Land art, series of objects  |  1 – 2 m³  |  2013

A short film for a documentary presentation of a series of sculptures. As the cubes pictured suggest, the artist was keen to transplant these everyday basic square shapes into a completely atypical environment full of organic, flowing shapes. As an embodiment of structure and uniformity, the cubes pose a stark contrast to their environment. The camera carries out captivating, concentrated circular movements around the cubes.


Music: Bach’s Open Goldberg Variations, by Kimiko Ishizaka
Schnitt: Deborah Uhde

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Sonar

Mini computer, microphone, headphones, cardboard  |  0.7 × 0.6 × 0.5 m  |  2013 | Read more…

Arsenal

Paper cuttings, historical world maps, acrylic glass panels |  2.4 × 1.2 m  |  2011 | Read more…

The Imaginary

Interactive film | Pc, screen, camera sensor | 2 × 2 x 1.5 m | 2011 | Read more…

Evergreens

2006 | dead palmtree, lacquer | and 12 ohter breeds

D.A.M.O.K.L.E.S.

2004 | 3 Pictures 

Eine Skulpturengruppe von acht geschnitzten Holzschwertern, die ich mit in den Griff geritzten Buchstaben. Die ich im Grundklassenjahr an der HBK angefertigt und über meinem Arbeitsplatz gehangen haben.

Axt

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