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When Uli Aigner is sitting on the turntable for the first time in 2014, she is about her fiftieth birthday. The Austrian artist moved to Berlin with her family from Munich. And asked itself one of the existential questions: what now? Her answer was more radical than what others might do: “I decided to turn a million porcelain a million vessels.” No metaphorical ambition, no symbolic exaggeration, but a number, as specific as survival. “One Million” she calls her lifelong performance, which deals with nothing less than the Conditio Humana: that of being here, working, reminiscent. And the question of what actually remains.
