• 2013 the Deskxistence project is part of “Interruption” the 30th Graphic Biennale of L .
• Special performance for the opening ceremony of the 30th Graphik Biennale at the MALG.
• Works in the permanent collection of the MALG

• Scratched window panes of subway trains are part of the “Existentmale” project

• Place of studies at the Academy
• 2016 Printig Deskxistence
• 2016 Workshop and Lecture in the Bibliotek of Book-Graphics in collaboration with Goethe Institut St. Petersburg and
• 2016 Institute for Graphic Design master class lecture
• 2012 part of ́ the Deskxistence project”
• 1992 Individual exhibition Gallery Naviculus Artis, St. Petersburg Russia o Individual exhibition, Salon of the Academy of Arts St. Petersburg Russia o 1991 Student in residence at the graphic department of Repin Institute

The cattle and horse prints differ significantly. The castration of horses requires much more strength because the horses are already older and stronger. The procedure appears to be more aggressive, which is probably why it is only carried out by men. By contrast, the castração of the cattle is a family celebration, a kind of harvest festival.
This difference is also apparent in the monotypes.

Handmade paper of about 300 g/sqm is cut to a size of about 60 x 80 cm and taken to the Pampas for the castração.
In the case of the bulls, where the marcação is done at the same time as the castração, the still hot iron is applied to the paper immediately after branding. The heat of the iron and remains of the burnt hide leave traces on the paper. As does the blood from the castrator’s knife that he wipes on the paper after having severed the testicles. Sometimes the gaúcho also leaves the imprint of his bloodstained hand on the white surface. The testicles are kept for further use in the project.

The procedure is the same for the castration of horses, except that the paper does not get branded. Here too, the testicles are kept for further use. This is easier with horse testicles since, in contrast to cattle testicles, they are not dedicated to being grilled and eaten as a delicacy. The branded sheets of paper and testicles are then transported to a printing workshop together with tail hair from the horses.

In order to assure better absorbance, the papers are moistened. The testicles are dissected into fine slices, arranged on the paper and then passed under high pressure through an etching press. The glandular tissue bonds well with the paper and dries perfectly. The horse prints reveal that the bond between paper and glandular tissue can easily be used to fix tail hairs without using any additives.

The gaúchos of Southern Brazil, Uruguay and Argentina mark their horses and cattle during a marcação with a red-hot branding iron. The iron burns a mark, usually the breeder’s initials, into the animal’s hide. This provides proof of it being the property of someone.

For young bulls, the marcação coincides with the castração, or castration. The animals are castrated to keep them more submissive and make their meat juicier. In the so-called castration by pocket knife, the animal’s scrotum is cut open and the testicles severed off by one of the men – and it is always the job of a man. Horses are castrated later in life because their testicles only descend into the scrotum when the colts are about one year old. To indicate the castration, i.e. the conversion of a stallion into a gelding, the tail of the animal is cropped and cut straight. This procedure embodies an archetype of our civilisation and also the primal function of a bank: appropriation and multiplication, or control determined by economic objectives.

Chunks of meat hanging from a conveyor belt in a slaughterhouse are projected in slow motion across a white screen. And photographs of meat plotted on fabric hanging from a clothes’ stand that is referred to in Brazil as a macaw’s perch (pau de arara). The term is however also used to describe a common method of torture during the military dictatorship. Exhibition visitors are invited to choose a photograph as a background for selfies. Some people said that the sight of the grilled meat made their mouths water. A lamp similar to those used both in photo studios and in forced interrogation projects the shadows of the visitors onto a white wall.

In Eugène Ionesco’s play, Rhinoceros, Daisy regrets that her friend has turned into a rhinoceros and recounts: “What he said was: we must move with the times! Those were his last human words.” A reflection on how fascism and national socialism assume their own reality, void of humanity. This phrase is seen in Ottjörg’s etching Imagine there is no Rhino (2015), which is seen hanging on another wall.

Outside, on the public monuments in front of the museum, fragments of testicles and horsehair from castrated stallions point out that violence is inherent to the flip side of culture.

Exactly one month later, Ottjörg’s solo exhibition opened at the Museu de Arte do Rio Grande do Sul in Porto Alegre, where Messias Bolsonaro had announced his mission to kill. Encarnação is the artist's reaction to this event.

“The error of the dictatorship was to torture, not kill” and “I am captain of the army, my job is to kill”, are the words spoken by Jair Messias Bolsonaro in Porto Alegre before he was elected president of Brazil on 28 October 2018.

EPOFAKT - Epoch-making artefact
Because art doesn't have to be deadly serious.
Because art reflects processes from the economy and society.
Are these the things that are listed or in museums?
Can you imagine Paris without the Louvre? The Louvre without the Mona Lisa?
We make it easy for us and for you, we think them away.