The third installment of the exhibition series “work-in-progress” features a dual presentation of Doris Frohnapfel and Hubert Becker: two exhibitions describing the dislocation and reconstruction of places and objects, in which both differ considerably through their working approaches and contextual content. The film installation from Doris Frohnapfel is the result of her “work-in-progress“ installation Ein Versuch, Eine Verlagerung (An Attempt, a Shift), which she exhibited last year at M29. The collage film Bewaffnete Götter (Armed Gods), like the installation, the photography, the storyboard and the publication, all position the historical Pergamon altar as a referential system for a monument of war within the current political and cultural political context. Doris Frohnapfel employs the Pergamon altar of armed gods and heroes as the departure point for her research on war and the remembrance of war. With the threads she elects to follow, she interweaves the multiple layers into a kind of collage, out of text, image, film, photography, sound, object and installation, in which she documents, stages and abstracts the individual extracts, fragments and shards of war in an exemplary manner. Her language of imagery affords a view of war from a withdrawn and personal perspective, which stands in contrast to historical paintings and reliefs of war battles, the monuments in public spaces and the current (virtual) media imagery. Hubert Becker, for the first time in a “work-in-progress” presentation, shows a few of his models, the three dimensional templates for his photography. On view are models from his early photography, those which the artist has preserved and not yet disposed of, like photos of his work’s developmental process. His source materials are often well-known images from popular media and famous works of art, which he quotes, copies, reframes, rephotographs and appropriates to become his own work. For this exhibition Becker shows a laboriously designed three dimensional model, a kind of relief which is based on the Marcel Duchamp painting Die Braut (The Bride), as well as two new models from photographs of Man Ray and Irving Penn. For the show closing on the 14th of December 2018, a publication on Doris Frohapfel’s project will be released in German and English, from RpB Verlag Köln, including a text collage from Doris Frohnapfel, photographs, film stills, and a text from Sabine Fabo discussing the work.