Donnerstag, 13. Februar 2020

Antworten auf Protestschreiben von ARE/Artistic Research Künstlergruppe bezüglich der Ausstellungspolitik in den Berliner Kommunale Galerien. 12.2.2020 /// Answers to protest letter by ARE/Artistic Research Group concerning the exhibition policies at the Berlin Communal Galleries. 12.2.2020


 Antwort von Bezirksstadträtin Friedrichshain-Kreuzberg, Frau Clara Herrmann (English translation, please, see below)






(English version)

District Office Friedrichshain-Kreuzberg

Department for Finances, Ecology, Culture and Advanced Training
District Councillor

14.01.2020

In regard to your protest letter dated 9.12. 2019 we regret that you see the unfair, biased and arbitrary procedure of choice of artists for the exhibitions in the Berlin communal galleries as an occasion for indignation. The communal galleries and exhibition spaces of Berlin are platforms for artistic support and artistic experiments that deal with the cultural, political and historic challenges as well as with the topic of aesthetic education. 

In the 34 communal galleries of the city over 1200 artists are shown over a year. This is a very big number of artists and I don’t know any galleries that are so open in their programs as these. 

Nevertheless and according to the above mentioned, the programs and respectively the choice of artists that is done by the gallery directiors is done according to the respective profile of each gallery in question, according to the program and according to the criteria as indicated in their program, these are criteria defining the program content, quality and the gallery financial criteria. The privileges that you mention on the examples of artists Ines Doleschal and Susan Piotter don’t play any role in the choice of exhibition projects. In the exhibition space Alte Feuerwache the topic Bauhaus during its anniversary year  was relevant and the quality of the Berlin artists’ works that were proposed by curator Ines Doleschal. 
    Artists can apply for an exhibition at the communal galleries by presenting their portfolios throughout the whole year. Above that, the annual project support program gives all the artists the possibility to cooperate with the district cultural institutions and exhibition spaces and to propose their projects there. An independent jury decides then which project wins the funding. These decisions/ competition results are transparent and are annually made public on the website of the district’s culture department, where also the sum of the money allocated for the winning projects is also indicated.
The temporary cooperation between the gallery directors (Leitung) with the curators has proved to be good throughout many years and it will be also continued in the future. (Independent) curators do not replace the work of the gallery directors on the grounds that are inevitable for the continuity  and stability of the decentralized art and cultural programs in the city’s districts. 
We accept your critique and will forward it  to the communal galleries working groups.  

Clara Hermann,

(Signed and sealed)

District Councillor



    Letter #2 (for English, please, scroll down)

Antwort von Bezirkstadträtin Marzahn-Hellersdorf, Frau Juliane Witt




District Office Marzahn-Hellersdorf of Berlin

Department for Advanced Training, Culture, Social and Facility Management Issues

District Councillor

22.1.2020

Statement concerning the anonymous protest letter by the ARE/Artistic Research Artists Group.

The 34 communal galleries of Berlin show throughout a year an average of 200 exhibitions in which annually around 1200 professional artists take part. The Communal Galleries of Berlin play a central role in showing and supporting of artists. 

In this letter you claim that only very few artists are regularly exhibited and supported, this is not true. Also the allegation that the choice of artists is made according “to some arbitrary factors” needs to be clearly rejected. The choice of artists always takes place according to curatorial aspects in each thematic context. 

Duplication of exhibitions where the two artists (you mentioned) have been repeatedly shown in one year is naturally not optimal and also it is not the rule. In both abovementioned exhibitions the above mentioned artists were just participating in the exhibitions, these were not solo shows. 

In 2013 the Communal Galleries of Berlin have joined up into a Working Group of Communal Galleries Berlin (AK KGB, www.kgbberlin. net) in order to make stronger their presence in Berlin, and also to get long-term possibilities of support for the districts Communal Galleries. Since 2014 for the first time the exhibition fund for Communal Galleries Berlin on the part of the Senatsverwaltung (Senate administration) for culture was set up. Respectively from this fund according to its guidelines, along with the exhibition organisation activity of the respective galleries, the KGB art week is being annually financed. This is a big Art Week taking place all over Berlin with the participation of all Communal Galleries. The program for this Week is developed and coordinated with all Galleries. 

A detailed coordination concerning each separate exhibition throughout the whole year is not possible. The Communal Galleries are anchored within the respective districts administrations. Each Gallery is responsible for its own exhibition program. 

For the next meeting it is planned to work out a possible regulstion that will be discussed with the communal gallery directors in order to avoid duplications in the choice of artists by the Gallery directors.



Sincerely Yours, 

Juliane Witt,


signed and sealed




Impressum:
ARE
Große Hamburger Strasse 36,
10115, Berlin

030 9789 38 97

Freitag, 6. Dezember 2019

Contemporary Art in Berlin. Exhibition. Protest. Offene Brief. Strategies of Artistic Protest. Follow up. 6.12.2019

Protest. Offene Brief. Strategies of Artistic Protest. Follow up. 6.12.2019

Wir (ARE/Artistic Research Künstlergruppe, Kuratoren und Kunskritiker) sind zutiefst verzweifelt und empört darüber, wie die Ausstellungspolitik in einigen Berliner Kommunalen Galerien und öffentlich finanzierten Ausstellungsräumen verläuft. Mit großen Unbehagen erleben wir, wie nur einige wenige - von der Galerieleileitung willkürlich ausgewählte Künstlerinnen regelmäßig gefördert und ausgestellt werden auf Kosten von hunderten von anderen KünstlerInnen, denen keine Chance gegeben wird, ihre Werke in honorierter Form in Kommunalen Galerien und Ausstellungsräumen einem größeren Publikum vorzustellen. Schon ein kurzer Überblick auf die Biografien der KünstlerInnen zeigt deutlich, dass die Leitung von Kommunalen Galerien und öffentlich geförderten Ausstellungsräumen einseitg in Ihrer Auswahl verfahren: Um deutlicher zu werden, wurden in letzter Zeit zwei Künstlerinnen auffallend privilegiert: Frau Ines Doleschal und Frau Susanne Piotter waren allein im Jahr 2019 ununterbrochen in den Berliner Kommunalen Galerien/Ausstellungsräumen zu sehen, und zwar sowohl im Schloß Biesdorf (Künstlerische Leiterin - Karin Scheel) wie in dem Projektraum Alte Feuerwache (Leitung des Projektraumes – Kerstin Ottersberg). Davor waren Frau Doleschals und Susan Piotters Arbeiten in der Schwartzschen Villa (ehemaliger Leiterin - Doris Fürstenberg) zu sehen, in der Galerie Weisser Elefant und in der Galerie Nord Kunstverein Tiergarten und so weiter: sehe unten

Ines Doleschal:

2019 Schloß Biesdorf, 

2019 Projektraum Alte Feuerwache 4x3 Bauhaus, 

2016 URBAN kommunale Galerie Berlin,

2015 Schwartzsche Villa 

2015 Galerie Nord Kunstverein Tiergarten

2014 Galerie Weisser elefant

2011 Projektraum Alte Feuerwache,

Susan Piotter

2019 4x3:bauhaus, projektraum alte feuerwache, Berlin

2019 COLLECT, SELECT, SAY GOOD-BYE, Schloss Biesdorf (K)

2016Gedok Urban / Aspekte Berliner Kunst, Kommunale Galerie Berlin

2015Das Ganze und die Summe der Teile, KUNST.RAUM.STEGLITZ, Berlin (S)

Uns geht es nicht darum, dass wir die Qualität der Arbeiten der oben genannten Künstlerinnen in Frage stellen möchten, wir würden uns über sie keinesfalls ein negatives Urteil erlauben. Uns geht es vielmehr darum, dass kein Künstler in kürzester Zeit dermassen wichtige Kunstwerke schaffen kann, dass diese dauerhaft und auf Kosten anderer Künstler in mit öffentlichen Geldern geförderten Berliner Kunsträumen präsentiert werden. Berliner Kommunale Galerien und aus Steuergeldern finanzierte Ausstellungsräume sind nicht dafür da, stets dieselben aus irgendwelchen willkürlichen Gründen ausgewählten Künstler zu zeigen. Und zwar deshalb, weil in Berlin hunderte von Künstlerinnen arbeiten, die nicht weniger gut sind, aber nie gezeigt werden können, so lange sie nicht in das Programm aufgenommen werden. Solche Kulturpolitik in Berliner öffentlich geförderten Ausstellungsräumen finden wir ungerecht.


Unsere Forderungen:

  • den Posten der Galerieleitung aufzuheben und stattdessen Künstler oder Kuratoren nach Wahl des jeweiligen Stadträt*in einzuladen, um ihre Projekte in den öffentlich finanzierten Galerieräumen zu realisieren.

  • Installierung eines kuratorischen Expert*innen-Gremiums mit 50%
Frauen, das die Ausstellungsvergaben beschließt

  • Mehr Transparenz in den Entscheidungen von Ausstellungsvergaben

  • BürgerInnen-Beteiligung bei der Vergabe von Ausstellungschwerpunkten

  • Die Einrichtung eines kuratorischen Expert*innen-Gremiums, das alle vier Jahre gewählt wird

  • Transparenz in den Vergabe von Leitungsposten an kommunalen Galerien

- Quotierung der Ausstellungsbeteiligungen von Künstlerinnen und Künstlern
in kommunalen Galerien (max. 1 mal in 4 Jahren)

- mind. 50% weibliche Künstlerinnen in den Kommunalen Galerien


Sources:


Biography
Ines Doleschal
http://www.ines-doleschal.de/cv.html






Biography: Susanne Piotter

https://www.susanne-piotter.com/?page_id=48


 

geb. in Düsseldorf, lebt und arbeitet in Berlin
1990-1992 Höhere Berufsfachschule für Gestaltung, Köln
1992-1996 Maastricht Academy of Fine Arts and Design/NL, Diplom Bühnenbild
1999-2000 Multimedia-Design, Berlin
 
AUSSTELLUNGEN (Auswahl) 

2019 
4x3:bauhaus, projektraum alte feuerwache, Berlin
COLLECT, SELECT, SAY GOOD-BYE, Schloss Biesdorf (K)
Change, BMW Foundation Herbert Quandt, Berlin (K)
Poetics of change, BBA Gallery Berlin @ Fann Á Porter Gallery, Dubai /UAE (K)
TRANSFORMART#3, artfestival, Rathenauhallen, Berlin
Kunst trifft Gesundheit, Kunstpreis der AOK Nordost, Berlin (K)
2018
TRANSFORMART#2, artfestival, Rathenauhallen, Berlin
OUTLANDS, Galerie BERLIN BLUE art, Berlin (K)
Kunstlicht, Velten
2017 
Berlin Blue 2017, Galerie BERLIN BLUE art, Berlin
Kunstpreis Worpswede, Mobilitätsmuseum PS Speicher, Einbeck
Draw/Bridge, curated by Alex Devart, Arthouse1, London/UK
TRANSFORMART#1/ artfestival, Rathenauhallen, Berlin
2016 
1st International Printbiennale Lodz, Art Inkubator Lodz/PO (K)
C.A.R. contemporary art ruhr, vertreten durch BERLIN BLUE art, Zollverein Essen
Bucharest International Print Biennale, RECYCLED MEMORY, Bucharest/RO (K)
Gedok Urban / Aspekte Berliner Kunst, Kommunale Galerie Berlin
2015 
Das Ganze und die Summe der Teile, KUNST.RAUM.STEGLITZ, Berlin (S)
WERK³, 3 Künstlerinnen - 3 Positionen, WW48 Studio, Berlin
Metropolitain Art Fair, Volkskundemuseum, Wien/A
2014 
Alles verschwindet, basement Wien, (mit Sophie Tiller/A) (S)
besiedlung 2, Galerie Benedict Wien, (mit Sophie Tiller /A) (S)
Screening, Galerie im Stammelbachspeicher, Hildesheim
Kurze Nacht der Galerien & Museen, Altes Gericht, Wiesbaden
2013 
>besiedlung, Galerie aquabitArt, Berlin (mit Sophie Tiller) (S)
ZUGLUFT | 2-teilige Ausstellungsreihe, GEDOK GALERIE, Berlin
Hamburg – Berlin, GEDOK Berlin zu Gast im GEDOK Kunstforum Hamburg
2012 
Neuaufnahmen der GEDOK, Verborgenes Museum, Berlin
Contemporary Art Sucks! Design Center De Winkelhaak, Antwerpen/BE
2011 
Leistungsschau, Kunsthalle am Hamburger Platz, Berlin
Bremer Kunstfrühling, vertreten durch die Galerie CURVALUXA (K)
2010 
Inszenierte Momentaufnahmen, Neonchocolate Gallery, Berlin, (S)
2009 
19. Kunstmesse im Frauenmuseum, Bonn (K)
Kunstsalon Herbst 2009, Haus der Kunst, München (K)
Miniprint International of Cadaques, Cadaques/ES (K)
2008 
XV. Deutsche Internationale Grafik-Triennale, Frechen/Köln (K)
Internationale Ausstellung Nordart, Kunst in der Carlshütte, Rendsburg (K)
2007
Neuköllniade/Werkschau, Schillerpalais, Berlin
Urbane Träume, ukb Unfallkrankenhaus Berlin (mit Martin Schmitz) (S)

(S) Solo (K) Katalog

AUSZEICHNUNGEN

2019 | Nominiert für den Kunstpreis der AOK-Nordost
2017 | 3. Preis Kunstpreis Worpswede
2016 | Nominierung für den Preis der Bucharest International Print Biennale

ANKÄUFE/SAMMLUNGEN

2018 | Kunstsammlung Artothek der Landesbibliothek Berlin (ZLB)
2014 | Mag. Alexandra Hanzl, MBA, Lichtenstein - The Princely Collections
2007 | ukb Unfallkrankenhaus Berlin 



Impressum

ARE/Artistic Research

Mansteinstrasse 3, 
10783 Berlin-Schöneberg

030 9789 38 97











Contemporary Art. Berlin. Protest Exhibition. Open Letter. 6.12.2019

We are deeply concerned and outraged at the way the exhibition policy in some of Berlin's communal galleries is conducted, because only a few artists - arbitrarily selected by the Kommunale Galerieleinung - are regularly sponsored and exhibited at the expense of hundreds of other artists who don't get a chance to exhibit their works in communal galleries and get a fee for doing so. Even a brief overview of the artists' biographies clearly shows that they - namely Ms. Ines Doleschal and Ms. Susanne Piotter - were shown uninterruptedly in Berlin's Kommunale Galerien in 2019 alone, in Kommunale Galerie Schloß Biesdorf and in Kommunale Galerie Projektraum alte Feuerwache. Before that, Mrs. Doleschal was repeatedly shown in Schwartzsche Villa, in Galerie Weisser Elefant and in Galerie Nord Kunstverein Tiergarten. Likewise Susanne Piotter. Please see below:

Ines Doleschal:

2019 Schloß Biesdorf, 

2019 Projektraum Alte Feuerwache 4x3 Bauhaus, 

2016 URBAN kommunale Galerie Berlin,

2015 Schwartzsche Villa 

2015 Galerie Nord Kunstverein Tiergarten

2014 Galerie Weisser elefant

2011 Projektraum Alte Feuerwache,

Susan Piotter

2019 4x3:bauhaus, projektraum alte feuerwache, Berlin

2019 COLLECT, SELECT, SAY GOOD-BYE, Schloss Biesdorf (K)

2016Gedok Urban / Aspekte Berliner Kunst, Kommunale Galerie Berlin

2015Das Ganze und die Summe der Teile, KUNST.RAUM.STEGLITZ, Berlin (S)

It is not our intention here to examine the works of the artists mentioned above according to their artistic quality, they are certainly not bad. Our point here is that no artist can create such important works of art in such a short time that they need to be constantly presented in publicly funded Berlin art spaces over the years. Berlin Municipal Galleries are not just for showing the same artists selected for some arbitrary reason. Because in Berlin there are hundreds of artists who are no less good but never get a chance to be shown in communal galleries and publicly funded art spaces, because there're only the same female artists who are repeatedly exhibited over the years. We find such exhibition policies in Berlin's publicly funded exhibition spaces unfair. We suggest that the management of the above-mentioned galleries exhibit their artistic preferences somewhere else and if they can't help it and don't fulfill their tasks - they should leave the selection of artists to other curators or artists. 

Our demands:

- to replace the gallery director's position with  artists or curators invited by the respective city council, to realize their projects in the publicly financed gallery spaces.

- Installation of a curatorial expert committee with 50% of the votes
of women who decide on thef exhibitions topics

More transparency in the decision-making on the choice of artists participating in
exhibitions in publicly funded art spaces

Participation of citizens in the choice of exhibition topics

Board of curators has to be elected every four years

Transparency in the allocation of management posts to municipal galleries

 - Quotation of participation of artists in exhibitions
in municipal galleries (max. 1 time in 4 years)



Sources:


Biography
Ines Doleschal
http://www.ines-doleschal.de/cv.html





Biography: Susanne Piotter

https://www.susanne-piotter.com/?page_id=48

VITA


geb. in Düsseldorf, lebt und arbeitet in Berlin
1990-1992 Höhere Berufsfachschule für Gestaltung, Köln
1992-1996 Maastricht Academy of Fine Arts and Design/NL, Diplom Bühnenbild
1999-2000 Multimedia-Design, Berlin
 
AUSSTELLUNGEN (Auswahl) 

2019 
4x3:bauhaus, projektraum alte feuerwache, Berlin
COLLECT, SELECT, SAY GOOD-BYE, Schloss Biesdorf (K)
Change, BMW Foundation Herbert Quandt, Berlin (K)
Poetics of change, BBA Gallery Berlin @ Fann Á Porter Gallery, Dubai /UAE (K)
TRANSFORMART#3, artfestival, Rathenauhallen, Berlin
Kunst trifft Gesundheit, Kunstpreis der AOK Nordost, Berlin (K)
2018
TRANSFORMART#2, artfestival, Rathenauhallen, Berlin
OUTLANDS, Galerie BERLIN BLUE art, Berlin (K)
Kunstlicht, Velten
2017 
Berlin Blue 2017, Galerie BERLIN BLUE art, Berlin
Kunstpreis Worpswede, Mobilitätsmuseum PS Speicher, Einbeck
Draw/Bridge, curated by Alex Devart, Arthouse1, London/UK
TRANSFORMART#1/ artfestival, Rathenauhallen, Berlin
2016 
1st International Printbiennale Lodz, Art Inkubator Lodz/PO (K)
C.A.R. contemporary art ruhr, vertreten durch BERLIN BLUE art, Zollverein Essen
Bucharest International Print Biennale, RECYCLED MEMORY, Bucharest/RO (K)
Gedok Urban / Aspekte Berliner Kunst, Kommunale Galerie Berlin
2015 
Das Ganze und die Summe der Teile, KUNST.RAUM.STEGLITZ, Berlin (S)
WERK³, 3 Künstlerinnen - 3 Positionen, WW48 Studio, Berlin
Metropolitain Art Fair, Volkskundemuseum, Wien/A
2014 
Alles verschwindet, basement Wien, (mit Sophie Tiller/A) (S)
besiedlung 2, Galerie Benedict Wien, (mit Sophie Tiller /A) (S)
Screening, Galerie im Stammelbachspeicher, Hildesheim
Kurze Nacht der Galerien & Museen, Altes Gericht, Wiesbaden
2013 
>besiedlung, Galerie aquabitArt, Berlin (mit Sophie Tiller) (S)
ZUGLUFT | 2-teilige Ausstellungsreihe, GEDOK GALERIE, Berlin
Hamburg – Berlin, GEDOK Berlin zu Gast im GEDOK Kunstforum Hamburg
2012 
Neuaufnahmen der GEDOK, Verborgenes Museum, Berlin
Contemporary Art Sucks! Design Center De Winkelhaak, Antwerpen/BE
2011 
Leistungsschau, Kunsthalle am Hamburger Platz, Berlin
Bremer Kunstfrühling, vertreten durch die Galerie CURVALUXA (K)
2010 
Inszenierte Momentaufnahmen, Neonchocolate Gallery, Berlin, (S)
2009 
19. Kunstmesse im Frauenmuseum, Bonn (K)
Kunstsalon Herbst 2009, Haus der Kunst, München (K)
Miniprint International of Cadaques, Cadaques/ES (K)
2008 
XV. Deutsche Internationale Grafik-Triennale, Frechen/Köln (K)
Internationale Ausstellung Nordart, Kunst in der Carlshütte, Rendsburg (K)
2007
Neuköllniade/Werkschau, Schillerpalais, Berlin
Urbane Träume, ukb Unfallkrankenhaus Berlin (mit Martin Schmitz) (S)

(S) Solo (K) Katalog

AUSZEICHNUNGEN

2019 | Nominiert für den Kunstpreis der AOK-Nordost
2017 | 3. Preis Kunstpreis Worpswede
2016 | Nominierung für den Preis der Bucharest International Print Biennale

ANKÄUFE/SAMMLUNGEN

2018 | Kunstsammlung Artothek der Landesbibliothek Berlin (ZLB)
2014 | Mag. Alexandra Hanzl, MBA, Lichtenstein - The Princely Collections
2007 | ukb Unfallkrankenhaus Berlin 

Impressum

ARE/Artistic Research
Meinsteinstrasse 3, 10115
Berlin
030 9789 38 97









Dienstag, 24. September 2019

Contemporary Art. Berlin. Artistic Discourse. Protest. Ausstellung. Kuratorin Lily Fürstenow. Diskussion at pex.lab Space - Peggy Sylopps Open Lab. 22.9.2019

Diskussionen über die Zukunft des Protests in Kunst. Kuratiert von Lily Fürstenow at PEX.LAB SPACE. Strelitzerstrasse 60. Berlin-Mitte.
Next meeting on Oct. 20, 2019. Wir bleiben dran - Stay tuned.
Mit Pegy Sylopps Twilight Installations. Ice.






















Impressum.

Torstrasse 208, 10115
Berlin
@lilyfuerstenow
lilykalanda@yahoo.co.uk
0151 614 38 978

Freitag, 30. August 2019

Protest - Strategies of Artistic Protest. Curator Lily Fürstenow. 12.9.2019




Elza Javakhishvili Concrete Poesie. Protest





Protest – Strategies of Artistic Protest 

Curator Lily Fürstenow/Artistic Research

Participating artists: Peggy Sylopp, Christine Kühn, Mara Wagenführ, Yair Meshoulam, Grant Simon Rogers, Theona Paichadze, Tea Nili, Maj Synje-Berns, Janos Tarko, Semra Sevin, Jeni Mitchell, Allen T. Ball, Elza Javakhishvili


Opening discussion – 12 September. 2019. 19 p.m. at Gh36. 
Große Hamburger Strasse 36, 10115 Berlin

Locatons: artists ateliers and project spaces – gh36, Große Hamburger Strasse 36, Berlin-Mitte, Mansteinstrasse 3, Berlin-Schöneberg, Strelitzerstrasse 60, Berlin-Mitte

Protest is always worth it. What is contemporary art worth? Which interests and values are at stake here? This exhibition is conecived to oppose the contemporary art system by means of elaborating strategies of artistic protest in search of artistic practices that would deal with the existing status quo. The framework discussions accompanying the exhibitions in all three locations will attempt to encourage emancipatory debate rather than focussing on conventional viewing of artworks on show. 

Year after year Berlin art scene hypes itself as the magnet for contemporary arts claiming to reflect burning socio-political topics via creative artistic positions. In practice however more and more artists are feeling increasingly desperate about what has become of contemporary art scene, because institutional exhibition policies are irrelevant and hardly reflect topics that are at the core of of either local societies or international communities in their programs, the choice of artists featured in the exhibitions is made according to highly obscure criteria, because there're instances of artists being censored, unpaid for their work, refused to exhibit, there's a tendency to show artists that comply with mainstream tastes in order to attract increasing exhibition attendance numbers.


Whereas corruption within the art world has become recently a buzzword with quite a number of art experts discussing it on the pages of glossy magazines little has been done to deal with it or at least search for ways to resist. In fact, as some art critics might confess, writing about art has lost its former importance becoming more a tool of PR machinery. Common belief among artists holds it that art world is run by globally operating commercial galleries that promote more or less the same artists complying to their tastes, that are expected to procure high sales, since the material objecthood of art works turns them into objects of market speculations and lucrative investments. Public institutions, kunsthalles, international art biennales and contemporary art museums follow forth using taxpayers money to promote and feature the same artists thus closing the vicious circle.


One could argue that there's enough room for independent spaces to make visible artistic practices that do not fit into the abovementioned framework, yet side events and off spaces - posh as they might seem - mostly lack the publicity they deserve, are poor on quality or are of sporadic character. For artists captured within such conditions it's a matter of enormous personal courage to protest the current status quo. Therefore we're all going to soon find out how much of us and how far we'll be able to take our protest. Anyway there's not much to lose and those who still hesitate, action needs to be taken thus quoting berlin biennale 7 curated by artist Arthur Zmijewsky and his team: Forget Fear!

Of course, contemporary art scene largely depends on networks, friendships, personal tastes of influential curators, jury decisions based on highly obscure sets of criteria and other actors behind the scenes, financial markets inclusive, yet how come that the resulting institutionally exhibited art is so poor on quality and leaves so much to wish for. Protest seems here the only solution, because strategies of artistic protest, which this exhibition seeks to analyse will pave the way to critical and emancipative tendencies in arts.


This exhibition is largely inspired by the history of artistic protest against the so-called establishment – with one of the examples being the Salon des Refusés– in 1863 that included the “R” artists (stamped by the Jury as the Refusés) who were not selected for the Paris Salon – the official state authorised arts exhibition at the Ecole des Beaux-Arts. 

The participating artists in the Protest curated by me,do not necessarily claim that their works can be compared to those of Monet, Manet, Renoir, Courbet or Sisley who were then among the refused artists – yet the idea of this Protestexhibition is to set up a precedent of artistic resistance in the contemporary arts practice that will initiate a different artistic position opposing the mainstream – like Salon des Refusés introduced a new era in arts.




Open Letter by Allen Thonal Ball

Artist. 

Brooklyn NY September 01, 2019

Dear Reader,
In recent years it seems art displayed in large funded institutions has declined in quality of execution, intellectual property, and cultural significance for pedantic surfaces, immense scales, and objects encrusted with baubles in the hopes of ‘wow’ collectors.

It may be that most institutions have vague criteria that bestow certain aesthetic aspects of contemporary artwork with authenticity and intellectual grace, but does it work? Preference in art boils down to taste and personal experiences in both the maker and the gaze, then why is so much of the art I see represented seem so soulless?

Focus is best placed on the studio, not on the gallery or institution. Additionally there is little to no support for small institutions, galleries, and exhibit spaces. Artistic freedom is hindered without attention that values the studio practice.

Sincerely, Allen T. Ball

Peggy Sylopp. Aggregatzistände. Water.


Yair Meshoulam. Banner

Opening discussion. Curator Lily Fürstenow. at gh36. 12.9. 2019

Oliver Rednitz. Berlin is sold out.