VEIT LAURENT KURZ
Born in Germany in 1985 Veit Laurent Kurz lives and works in Berlin. He studied at the Städelschule, Frankfurt am Main, Germany between 2009 and 2012. Upcoming and recent exhibitions include, Gallery Isabella Bortolozzi (2019), Kunstverein Nürnberg (2019), Städtische Galerie Delmenhorst, Germany (2017), The High Line, New York (2017), Kestnergesellschaft, Hannover (2017) and The Whitney Museum of Modern Art, New York (2015).

Winner of the Fourth Edition of the Prize
portrait photo by Roman März.
The theme of the Fourth Edition of the BFSP is Negativo, the anti-form and the anti-space. Traditional lost wax casting process is based on a series of 5 positives/negatives passages: the original model transforms in its own negative/anti-form twice before becoming eternal bronze. Negative space resists as a necessary state of the form itself, essential and crucial chamber of translation. How is it possible to render this indispensable passage into a self-standing form, and to be transformed into bronze? The fourth edition of the BFSP (2019/2020) asks the selected artists to investigate the negative space, its anti-area, and anti-forms, and to explore their potential within the lost wax casting process.
After a careful analysis of the finalists’ projects, selected by a team of international curators and advisors, the BFSP Jury decreed that the winner of the BFSP#04 is Veit Laurent Kurz (1985, Germany) with the project “The Dilldapp Memorial”.
According to the Jury, Kurz’s project deals with theme such as trace and memory to align the interpretation of missing information in archeology with the reading of negative space.
The “Dilldapp Memorial” combines rigorously historical analyzes with mythology and fiction. The project explores the archeological space and its evocative potential. In Kurz’s work the excavation acts as conceptual tool for analyzing life and death, desolation and hope. From a formal point of view, the artist presents a challenge between positive and negative, presence and absence, inspiring a process of analysis that ends up being both mental and physical. The artist’s sculptural environment creates an analogy between the eruption of the Vesuvius Volcano, in 79 BC, and an imaginary world, a sort of speculative ethology.
