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Meeting

Clemens Reinecke, Conor Backman, Israel Lund, Travess Smalley and Jochen Plogsties interviewed by Hendrik Niefeld, accompanied with a text by Alison Hugill
Publication launched December 6, 2014

Meeting - Interview at The High Line, New York City

Meeting – Interview at The High Line, New York City

It must have been summer. I bought a few canvases and some acrylic paint. Then I cleared a corner in the living room and started to paint. It was terrible. I am not talking about the act of putting paint on canvas. No, that was great actually. I am talking about the paintings. I threw them in the garbage when I moved away that winter.

Years later I thought: did my true life-purpose elude me back then? Could I have been, unconsciously, a master of the craft? Am I not a painter-like character?

Hendrik Niefeld

Meeting Publication Launch in Berlin

Meeting – Publication Launch in Berlin

Walter Benjamin’s writings on materialist theology describe the messianic kingdom as exactly the same as our world, but with a “small adjustment” of everything. In Meeting, Hendrik Niefeld asks a mundane question that takes him on a significantly less mundane quest: “what if everything had been slightly different and I had become a painter?”

The publication critically reflects on art practice, by committing itself to a radical thought experiment. It is just as much a meeting with the five selected artists as it is a meeting with the author himself, as each of the interviewed subjects reflects – and not just statistically (they are all young, white males) – the self-satisfying psychoanalytic journey of understanding oneself through others. Meeting begins with a selfie.

Info-Punkt-Meeting-Publication-Preview

The curation of materials is also a psychological undertaking: each interviewee is asked to arrange a selection of works by other artists, and fill out a kind of identification form. From this we get a sample of their idiosyncratic handwriting, a window into their thought process. In fact, for all the focus on painting, we see few uncontextualized images of the artists’ painted works. The content of the short interviews becomes quite crucial, while the artists divulge their distinctive working habits that might provide the key, for Niefeld, to their painterly personalities.

Conor Backman discusses the problems of translation inherent in documentation, Clemens Reinecke muses on envy and temptation, while Israel Lund’s responses remain empty in an elusive gesture. In each case, the painter grapples with or integrates the unavoidable omnipresence of the internet. As Meeting is only available online, digital translation and the cult of the artist are central themes that, when addressed, bring renewed relevance to painting as an escapist contemporary medium.

As with other publications by Info Punkt, like the Bonus Material series, the documentation is aesthetically crude. Images of the artists’ studios appear typically cluttered – the process is revealed without intervention or glorification of the craft. Rather, we get a sense of the banalities of the everyday, those elements that hold the promise of a small adjustment, a potentially different reality – not necessarily better but different. A world in which Hendrik Niefeld was a painter.

Alison Hugill

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Works from the Collection – Gallery

Conor Backman, Burkhard Beschow, Sami Eschmann, Anne Fellner, Tom Fellner, Natalie Häusler, Tilman Hornig, Julian Irlinger, Quintessa Matranga, Michael O’Mahony, Annie Pearlman, Rare Candy & Rowan Oliver, Ander Rennick, Kerim Seiler, Camilla Steinum and Alex Vivian

Curated by Anne Fellner, Burkhard Beschow and Hendrik Niefeld

Hosted by Galerie Gebr. Lehmann, Berlin
Exhibition opened January 15, 2016

Michael O’Mahony

Info-Punkt Statement > Kerim Seiler” title=”Info-Punkt__WftC__Statement__Kerim_Seiler_1″ width=”5184″ height=”3456″ class=”size-full wp-image-17707″ /><p class=Info-Punkt Statement and Kerim Seiler

Michael O’Mahony

Alex Vivian

Alex Vivian

Anne Fellner

Anne Fellner

Annie Pearlman

Annie Pearlman

Annie Pearlman and Tom Fellner

Burkhard Beschow

Burkhard Beschow

Camilla Steinum

Camilla Steinum

Julian Irlinger

Julian Irlinger

Kerim Seiler

Kerim Seiler

Quintessa Matranga

Quintessa Matranga

Rare Candy with Rowan Oliver

Rare Candy with Rowan Oliver

Natalie Häusler

Natalie Häusler

Conor Backman

Conor Backman

Tilman Hornig

Tilman Hornig

Ander Rennick

Ander Rennick

Sami Eschmann

Sami Eschmann

Access Works from the Collection

Works from the Collection

Conor Backman, Burkhard Beschow, Sami Eschmann, Anne Fellner, Tom Fellner, Natalie Häusler, Tilman Hornig, Julian Irlinger, Quintessa Matranga, Michael O’Mahony, Annie Pearlman, Rare Candy & Rowan Oliver, Ander Rennick, Kerim Seiler, Camilla Steinum and Alex Vivian

Curated by Anne Fellner, Burkhard Beschow and Hendrik Niefeld

Hosted by Galerie Gebr. Lehmann, Berlin
Exhibition opened January 15, 2016

Works from the Collection

Works from the Collection

Works from the Collection

What does it mean to make, collect, and experience art today? The nature of work and the archive have been radically altered by online forces, but this should not merely be a point of nostalgic lament. New forms of labour and collection dominate and we must reckon with the transition.

For Info-Punkt, the collection is a form of story board or mind map, an ever-changing and changeable compilation of idols, a treasury of admired works. The collection travels alongside the artist, accompanying or haunting them in their artistic journey. Where does the exhibition fit into this shadow life?

The exhibition is a ruptured moment of tangibility in an increasingly untouchable world. The exhibition is also a chance to create further documentation, which will loop back into the nearly immeasurable collection of online imagery. It is an opportunity for a physical happening, anachronous as they may be.

In the past there were cabinets of curiosity (Wunderkammer), collected objects travelled across the world in the hands of imperialists, to ‘educate’ about other cultures. How does this tradition still stand and in what ways has it been dismantled? How do we collect without possessing? Is the online art world any more public or accessible than its material counterpart?

Access Works from the Collection

Names featured in our manoeuvres

Alex Turgeon

Alex Vivian

Alina Gregorian

Alison Hugill

Amber Wright

Allison Katz

Ander Rennick

Annie Pearlman

Anthony Antonellis

Anne Fellner

Antoine Renard

Armen Eloyan

Aude Pariset

Brad Troemel

Bunny Rogers

Burkhard Beschow

Calle Segelberg

Camilla Steinum

Célestin Krier

Christian Oldham

Christopher LG Hill

Clémence de La Tour du Pin

Clemens Reinecke

Conor Backman

Cosima zu Knyphausen

David Rappeneau

Edward Marshall Shenk

Emily Shinada

Emma Talbot

Erik Larsson

Erik Stinson

Felix Amerbacher

Florent Dubois

Hamishi Farah

Hanna Hur

Harry Burke

Hayley Silverman

Honza Zamojski

Inga Kerber

Inger Wold Lund

Israel Lund

J. Gordon Faylor

Jaakko Pallasvuo

Jasper Spicero

Jennifer Chan

Jochen Plogsties

Johannes Kaufmann

John Henry Newton

Jordan Kasey

Josey Kidd-Crowe

Joshua Abelow

Joshua Petherick

Joyce Depue

Juan Pablo Larraín

Julian Irlinger

Kai Hügel

Katherine Botten

Katherine Poe

Kathrin Freytag

Keith J. Varadi

Kerim Seiler

Kristina Lee

Lauren Cook

Leslie Weibeler

Liam Osborne

Lina Leang Chung

Luis Vassallo

Manuel Stehli

Marisa Takal

Mary Wichmann

Matt Welch

Matthew Luther

Maximilian Roganov

Michael O’Mahony

Natasha Madden

Naomi Pollack

Natalie Häusler

Nicholas Verstraeten

Nick Payne

Olivia Dunbar

Olivia Erlanger

Paul Barsch

Peggy Pehl

Philipp Simon

Pia Christmann

Quintessa Matranga

Rohan Whiteley

Ronny Szillo

Salomo Andrén

Samuel Eschmann

Sanya Kantarovsky

Sigtryggur Berg Sigmarsson

Stephen Booth

Tilman Hornig

Tom Fellner

Travess Smalley

Vincent de Hoÿm

Vittorio Brodman

Zac Segbedzi

Zachary Davis

Meeting

Clemens Reinecke, Conor Backman, Israel Lund, Travess Smalley and Jochen Plogsties interviewed by Hendrik Niefeld, accompanied with a text by Alison Hugill

Meeting Donwload

PDF – 11,5 MB – 85 pages – English and German – Published December 6th, 2014

Download Meeting

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