About strange things


A central aspect of my motivation is the fun to comprehend the world as it appears to me as holistic as possible, to be able to have an effect on it as effectively and lastingly as possible.

Strictness, disciplinary differentiation, delimitations and specializations are rather restricting categories.

Multidimensional relations, connections, working mechanisms etc. play an important role and require attention in the identifying, understanding and influencing structures.

Unfortunately, all of us are in this regard in the beginning yet. Role models, education, basic and advanced training are still orientated to conventional paradigms. The holistic perception is difficult for us. We are unpractised.

Working as a management consultant I learned to chose unusual and unexpected ways to lure my clients away from well-worn thought patterns - with a lot of courage for breach of rules - subversion with a proper portion of humour

In the course of my artistic work the popular distinction of the genre are suspicious to me. Luckily more and more of my colleagues think similarly.

The classical genre-drawers became unnatural in our globalized and mediatized world. Being the actor fading out the context of my sphere of activity I considerably reduce the chances to inspire one or better more recipients to new cognition .

Not least due to this fact an artwork can't stand alone in my opinion, also not, if it has a certain "independent existence" as in the case of kinetic and interactive examples.
For lack of the interpersonality the esthetic aspects don't represent any intrinsic value of the work either.


A work always has to be seen in a context to which count as well the place, its history, the people appeared on the occasion of the work as the team of the producers of the work and their respective stories and intentions.

Only this network of junctions from persons, places, histories and connection edges of relations, ideas and intentions give meaning to the work. Producers and recipients embed the meeting in an understanding horizon respectively of their own. What arises is knowledge and in turn this enlarges not only individual but also cooperative action options.

To accelerate such processes, therefore in the focus of the bureau of innovation and his various brands like Strange Things, Strange Places, PureSpell etc. isn't seldom a rather nonconformistic play with everyday situations, everyday objects, technologies and social and cultural generalizations.

Materials and techniques play a secondary role, but in case of doubt the revitalization of existing violated, cast away or otherwise dispensed has priority to completely newly produced goods.

Already at order works for some interactive objects the conceptional negotiation process between art buyer and producer team already belongs to the components of the work developing.

Many of the projects are result of an interdisciplinary cooperation of temporary complicity.
Thereby it is irrelevant whether the accomplices see themselves already as artists, because the limitations between artists, scientists, craftsmen and recipients corrode by the interactive element of the objects and installations.

Frank Best über WL

The man behind "Strange Things" - the creator:
Surely himself also a bit "strange": a bit "different than usual", a bit "odd" and a bit "funny". Quite certain and nearly always "surprising", nearly always "provoking".

These characteristics, peculiarity you know, run like a thread through the life of Wolfram Lakaszus: Reflecting reality, behaviour and patterns of thought in a provoking and surprising way, results in fascinating objects relating the art and helps business companies to realize and start necessary changes.

Substance - technical and conceptional depth - is thereby the basis though that the provocation isn't fizzling out as a cheap showmanship, but encourages to constructive reactions, to creative reflections and leads so to innovations.