lola pfeifer


sculpture and more


sutaa, sutaa, sutaa, sutaa

https://opferderumstaende.cargo.site

wird es wieder ganz [sic] wenn ich es in Reis lege

nach dem Duschen bemerkt, dass ich das Handtuch vergaß

I feel like but like it’s like so like idk like it’s like not like but like idk...

btw (is it summer yet)

perfect. no mold

süßer als erwartet

how to bloom - properly?

touching story

sketches

text and curation


Party Party Party oder der Fluch der Repetition
Hey Hey Hey oder Repetition des Gewöhnlichen
Perfect Party or the Misery of the Extraordinary
Party Party Yeah Yeah (Que sera sera, whatever will be will be)

der Titel ist der Titel, Metapher Metapher und Gefühle kantig

https://opferderumstaende.cargo.site

working within the fields of sculpture, text, and research →




sutaa, sutaa, sutaa, sutaa

        loudspeaker stands with silicione molds, acrylics flight case, golden streamers, aluminum spotlights with yellow filters, disco light, bedside lamp, handmade wooden cable bridges, 2025
The work becomes a backstage area without a stage. Cable bridges lead nowhere, streamers replace technical necessities and the only voice is that of repetition: of revolutions, of celebrations and of star cult. Pfeifer's works oscillate between seriousness and party hype, between spotlight and fog machine - a course through the fragile concert of our time. The lyrics of Megan Thee Stallion's Mamushi (feat. Yuki Chiba) and the French revolutionary song Ça ira revolve around parallel themes, selfcentred stardom and the urgent need for meaning. ʻSutaa, sutaa, sutaa, sutaaʼ [スター, engl. star] - Megan Thee Stallion's refrain rings through the room like a mantra. The next song: Revolution, Ça ira, 36 repetitions. An elliptical movement is created between the songs and the installation: heads on lances, silicone ears on loudspeaker stands. What begins as a star cult begins to falter - the stage remains empty, the loudspeakers whisper, a spotlight blinds a lost disco light.