Salomo Andrén, Paul Barsch, Burkhard Beschow, Rare Candy with Zac Segbedzi, Jens Einhorn, Hamishi Farah, Anne Fellner, Christopher LG Hill, Erik Larsson, Josey Kidd-Crowe, Cosima zu Knyphausen, Natasha Madden, Liam Osborne, Joshua Petherick, Naomi Pollack, Ander Rennick, Calle Segelberg, New Scenario Archives, Philipp Simon, Camilla Steinum, Clemence de La Tour du Pin, Alex Vivian, Matt Welch and Amber Wright
On display June 5, 2016
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
Hosted by Galerie Gebr. Lehmann, Berlin
Exhibition opened January 15, 2016
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?
Scheduled Posts II
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?
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.
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.
A collection of poems & drawings edited by Anne Fellner.
Publication launched May 31, 2014
Sub Rosa is based on the concept of an autograph book or the more popular German “Poesiealbum”, a small book or loosely bound collection of pages for collecting sentimental mementos such as poems, sketches, quotes or simply autographs from friends, family members and colleagues. A simple password is required to view the book. The password is “Rose”.
The Latin phrase “sub rosa”, in English “beneath the rose” means: in secret, privately. All contributors were invited via personal invitation to send a submission of their choice for the publication. The resulting collection features works of 59 individuals – friends, family members, poets and visual artists. A publication launch was held at Rosengarten in the park Humboldthain in Berlin.
Sub Rosa features works by
Alex Turgeon, Alex Vivian, Alina Gregorian, Allison Katz, Annie Pearlman, Antoine Renard, Armen Eloyan, Aude Pariset, Bunny Rogers, Burkhard Beschow, Célestin Krier, Christian Oldham, Christopher LG Hill, Clémence de La Tour du Pin, Clemens Reinecke, Cosima zu Knyphausen, David Rappeneau, Edward Marshall Shenk, Emma Talbot, Erik Stinson, Felix Amerbacher, Florent Dubois, Hanna Hur, Harry Burke, Honza Zamojski, Inga Kerber, Inger Wold Lund, J. Gordon Faylor, Jaakko Pallasvuo, Jennifer Chan, John Henry Newton, Jordan Kasey, Joshua Abelow, Joyce Depue, Karolina A., Katherine Botten, Katherine Poe, Keith J. Varadi, Kristina Lee, Lauren Cook, Leslie Weibeler, Lina Leang Chung, Luis Vassallo, Johannes Kaufmann + Manuel Stehli, Marisa Takal, Mary Wichmann, Maximilian Roganov, Michael O’Mahony, Nicholas Verstraeten, Nick Payne, Odayaka, Olivia Dunbar, Pia Christmann, Sanya Kantarovsky, Sigtryggur Berg Sigmarsson, Stephen Booth, Tom Fellner, Vincent de Hoÿm and and Vittorio Brodman
Bonus Material II
Bonus Material is a series of publications that invites artists to present a selection of alternative documentation of already exhibited work. The second issue features the work of artist Jasper Spicero showing unreleased documentation of two 2012 solo shows. The publication consists two documents edited by Burkhard Beschow in cooperation with the artist. The digital files are containing exclusive pictures and videos in addition to already available material.
Info-Punkt presents the first issue of a series of publications titled Bonus Material – a generative exhibition concept, in which artists are invited to present a selection of alternative documentation of already existing artworks. The first issue features the co-curator of Appendix: Zachary Davis.
Clémence de La Tour du Pin, Peggy Pehl, Hayley Silverman & Emily Shinada, Olivia Erlanger and Cosima zu Knyphausen edited by Hendrik Niefeld, graphic design by Pia Christmann
Publication launched October 27, 2013
Artists are invited to submit material in form of sketches, models, texts, manipulated photos, anything that best describes a yet to be conceived artwork. The only requirement is that the sketches had to be of a work in progress. Forecast is published in digital form as well as a limited print edition.
The fourth exhibition at Info-Punkt focuses on essential needs of the human species. In a private apartment in Leipzig the artists have created installations that reflect on the co-existence of primitive and high tech concepts in our culture.
The exhibition examines aesthetic and content-related parallels, as well as questions that arise from these contrasting ideas. The collaborative works of Dresden-based artists Paul Barsch and Tilman Hornig are complemented with assemblages by New York-based artist and essayist Brad Troemel.
In their exhibition Drywine, Burkhard Beschow and Anne Fellner are inspired by the fascination for exclusive brands and consumer products. Reflecting on cultural traditions of Western society, Beschow & Fellner create an installation modeled after a show room. Within this space, the viewer is enticed to sample a generic substance that brings fictional products to mind, such as True Blood or Spice. Drywine explores the way archaic customs are perceived in a rationalized World.
(Music by Ma Lu)
Flat is an exhibition featuring new works by Anthony Antonellis and Ronny Szillo. According to him, Anthony Antonellis (*1981) lives and works in the internet. He is an Associate Professor at the Bridgewater State University Art Department. Several of his works are in the Rhizome ArtBase Collection at the New Museum in New York. Ronny Szillo (*1978) is a postgraduate student in the class of Media Arts led by Professor Joachim Blank at the Academy of Visual Arts in Leipzig. Both Antonellis and Szillo participated in Attending, a series of exhibitions showing only projections, that took place in Leipzig in 2011. This is where they met and came to discover parallels in their viewpoints and work methods.
Anthony Antonellis sends me his work Document via e-mail. It is a template for an art installation. A block ASCII PDF, over 600 color pages in length, is to be sent to a customary inkjet printer. The freshly loaded ink cartridges print page after page until they are empty. Large size extracts of the pdf hang on the wall. In response Ronny Szillo presents his work 216mm, consisting of a selection of images he produced with a mobile scanner device. They are printed on synthetic fabric and mounted on foldable stand-up displays. A laptop mounted on the wall shows a video that comments on his production process.
Bird of Paradise
Bird of Paradise is the first collaborative exhibition of Anne Fellner and Burkhard Beschow, who have recently started working as a duo. Anne Fellner (* 1986 in New York City) has a background in painting and Burkhard Beschow (* 1983 in Dresden) in digital media. Both are students at the Academy of Visual Arts in Leipzig. Their collaborative work results in a mash-up of the two mediums. The working process takes place in the painter´s studio as well as on the computer. Quoting each other´s metier is a central aspect of their work. Brush strokes are downloaded from online image databases or computer screen savers are rendered into paintings.
I watch the two of them set up their work. Light-weight material is arranged in a simple composition. My first association is the copy-shop, as a place where digital images are given a physical form. A standard element in these locales is the stereotypical full color sample print hung on the wall. These prints have a decorative as well as demonstrative function. The Bird of Paradise, a tropical flower, might be the perfect motif for such a print. The concepts of Print-On-Demand retail, Long Tail business models and personalized merchandising from web shops also come to mind. The work Bird of Paradise is an exploration of these topics and reflects their body of work as a duo.