Filing System Of Index Cards, 1966–76, by Ursula Bogner (DE) and book Sonne = Blackbox, Maas Media Verlag, 2011
 
// Project Space of Kunstraum Kreuzberg/Bethanien 
// 28.01.–05.02. › daily 12–19:00
 
It was thanks to a chance encounter with her son that Jan Jelinek discovered the estate of the late  Ursula Bogner (1946–94), a pharmaceutist from West Berlin who had solitarily pursued her interest in synthesizers, drawing and borderline sciences for over twenty years, thereby creating a body of work that could eventually merit her posthumous ranking among the post-war avant-garde.
 
Jelinek has since edited and published excerpts from Bogner’s acoustic, photographic and graphic oeuvre (none of which was published in her lifetime), which initially ushered in the claim that he and she were one and the same person, as well as subsequent debate around the issue of fakes respectively suspected fakes as a presentation/reception strategy. 
 
Questions as to the role, impact and standing of artificial or genuine secrets are intersecting threads in Ursula Bogner’s biography and oeuvre, and likewise in critiques of these. Bogner’s work, whether fictitious or real, is irrevocably intertwined with her biography and so, as author and musician Momus wrote in his book, Ursula Bogner – Sonne = Blackbox, questions as to Bogner’s real identity are largely irrelevant: "Every lie creates a parallel world; the world in which it is true. So I am interested in the parallel world in which Ursula Bogner really is credible, and really exists".
 
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