Stephan Dillemuth’s (b. 1954, Büdingen, Germany, lives and works in Bad Wiessee) artistic practice manifests itself in a testing of techniques and spaces of self-determination, which he understands as bohemian research laboratories. In this, an aesthetic is articulated that does not seek to emulate the manufacturing industry in another trade, but rather operates in an open-ended, amateurish, provisional, and occasionally collective manner. Despite an astonishingly broad frame of references, ranging from the life reform movement to blockchain technology and the beauty gallery at Nymphenburg Palace, Dillemuth has created an astonishingly concise oeuvre over the years that takes the content it deals with too seriously to sacrifice it to common definitions of career. Fundamental to this is a conception of artistry as a way of life that is deviant due to radical curiosity and a reflected striving for autonomy, but unlike the alleged genius, never renounces a sense of community.

Lack of Coherence (2011), which takes its title from the place of its making and first appearance, an exhibition space in Porto named A Certain Lack of Coherence, and which is dedicated to all peeping toms.