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Works from the Collection at Galerie Gebr. Lehmann / Berlin

Works from the Collection
Curated by Burkhard Beschow, Anne Fellner & Hendrik Niefeld as Info-Punkt

Artists: 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, Alex Vivian

Galerie Gebr. Lehmann
Lindenstraße 35, D-10969 Berlin

http://www.galerie-gebr-lehmann.de/

January 15 – February 27, 2016


Info Punkt, Kerim Seiler


Kerim Seiler, Quintessa Matranga

Quintessa Matranga

Kerim Seiler

Annie Pearlman

Tom Fellner

Camilla Steinum

Camilla Steinum detail

Burkhard Beschow

Anne Fellner

Julian Irlinger

Rare Candy & Rowan Oliver

 Alex Vivian


Tilman Hornig

Ander Rennick

Natalie Häusler

Conor Backman

Sami Eschmann






Michael O'Mahony Performance



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?



Photos by Paul Barsch