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
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