the state I am in

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Open: Tue-Sat 11am-6pm

Karl-Marx-Allee 45, D-10178, Berlin, Germany
Open: Tue-Sat 11am-6pm


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the state I am in

to Sat 6 Aug 2022

Karl-Marx-Allee 45, D-10178 the state I am in

Tue-Sat 11am-6pm


With works by James Gregory Atkinson, Noah Barker, Nicolas Ceccaldi, Peter Fend, Lea Grundig, Jacqueline de Jong, Laura Langer, Louise Lawler, Oswald Oberhuber, Li Ran, Lotty Rosenfeld, Bruno Serralongue, Bri Williams and Leyla Yenirce

Capitain Petzel presents the group exhibition the state I am in, curated by Elisa R. Linn and Lennart Wolff.

Artworks

Twilight Brigade (Charlie, Clausewitz, and Vladimir), 2021

Gloss paint
Dimensions variable
© Noah Barker Courtesy the artist and Fanta Gallery, Milan Ph: Gunter Lepkowski

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Herd resting, 2022

Oil on cardboard mounted on foamcore, artist's frame
Image dimensions: 61 x 90.8 cm / 24 x 35.7 inches Framed dimensions: 71.8 x 101.6 cm / 28.3 x 40 inches
© Nicolas Ceccaldi Courtesy the artist and Greene Naftali Gallery, New York

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By the sea, 2022

Oil and pastel on paper mounted on canvas, artist's frame
Image dimensions: 61 x 91.4 cm / 24 x 36 inches Framed dimensions: 80 x 110.5 cm / 31.5 x 43.5 inches
© Nicolas Ceccaldi Courtesy the artist and Greene Naftali Gallery, New York

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Errance, 2022

Oil on paper mounted on canvas, artist's frame
Image dimensions: 61 x 76.2 cm / 24 x 30 inches Framed dimensions: 66.7 x 81.9 cm / 26.2 x 32.2 inches
© Nicolas Ceccaldi Courtesy the artist and Greene Naftali Gallery, New York

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Untitled, 1952

Mortar, brick, round bar steel
224 x 28 x 18.7 cm 88.2 x 11 x 7.4 inches
Courtesy KOW, Berlin. Signed and dated on the bottom

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Wealth of Basins - Death of Nations, 1979

Video, filmed and directed by Robert Polidori
45:31 min
© Peter Fend Courtesy of the artist & Barbara Weiss Gallery, Berlin

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From Truck Driver to the Political Commissar of the Mounted Troops, 2012

Video
8:50 min
© Li Ran Courtesy of the artist

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CET CST, 2021/22

Two Clocks
32 cm / 12.6 inches
© James Gregory Atkinson Courtesy the artist. Edition of 3 + 2 AP

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Moon Skull, 2022

Acrylic and oil on canvas
150 x 110 cm 59.1 x 43.3 inches
© Laura Langer Courtesy the artist and Weiss Falk, Basel/Zurich

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BOLSA DE COMERCIO DE SANTIAGO, 1982

Two vintage b/w photographs, video screenshots
Framed dimensions: 36.9 x 52.8 cm / 14.53 x 20.8 inches
Courtesy Alejandra Coz and Gallery 1 Mira Madrid. Signed and stamped From the series 'A Mile of Crosses on the Asphalt'

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BANCO DE INGLATERRA, 1996

Two vintage b/w photographs
Framed dimensions: 33 x 38.5 cm / 13 x 15.5 inches
Courtesy Alejandra Coz and Gallery 1 Mira Madrid. Signed and stamped From the series 'A Mile of Crosses on the Asphalt'

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Stare, 2021

Carousel horse stand
10.8 x 38 x 53.2 cm 4.3 x 15 x 20.9 inches
© Bri Williams Courtesy the artist and Queer Thoughts, New York

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Bauernkriege, 1950/57

Etching, framed
65 x 50 cm 25.6 x 19.7 inches

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No Drones (adjusted to fit, distorted for the times), 2010/2011/2022 [as adjusted for the exhibition 'the state I am in', 2022]

Adhesive wall material
457.2 x 574 cm 179.9 x 226 inches
© Louise Lawler Courtesy the artist and Sprüth Magers. Edition 1/1 + 1 AP

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Untitled (Upstairs-Downstairs), 1986

Charcoal, crayon and acrylic on watercolour paper
Image dimensions: 68 x 51 cm / 26.8 x 20.1 inches Framed dimensions: 74 x 58 cm / 29.1 x 22.8 inches
© Jacqueline de Jong Courtesy the artist and Pippy Houldsworth Gallery, London Ph: Todd-White Art Photography, London

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Untitled (Upstairs-Downstairs), 1986

Charcoal and acrylic on cartridge paper
Image dimensions: 60 x 45 cm / 23.6 x 17.7 inches Framed dimensions: 66 x 51 cm / 26 x 20.1 inches
© Jacqueline de Jong Courtesy the artist and Pippy Houldsworth Gallery, London Ph: Todd-White Art Photography, London

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Untitled (Upstairs-Downstairs), 1984

Charcoal, crayon and acrylic on cartridge paper
Image dimensions: 45 x 60 cm / 17.7 x 23.6 inches Framed dimensions: 51 x 66 cm / 20.1 x 26 inches
© Jacqueline de Jong Courtesy the artist and Pippy Houldsworth Gallery, London Ph: Todd-White Art Photography, London

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KRS ONE on Stage (Washington DC), 1998

Ilfochrome Classic print (2003), mounted on aluminium
Image dimensions: 125 x 156 cm / 49.2 x 61.4 inches Framed dimensions: 127.5 x 158.5 cm / 50.2 x 62.2 inches
© Bruno Serralongue Courtesy the artist and Air de Paris, Romainville. Edition of 3 + 2 AP

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Devantures, centre ville de Pristina, Kosovo, 8 novembre 2010, 2010

Ilfochrome print, mounted on aluminium
Image dimensions: 125 x 156 cm / 49.2 x 61.4 inches Framed dimensions: 127.5 x 158.5 cm / 50.2 x 62.2 inches
© Bruno Serralongue Courtesy the artist and Air de Paris, Romainville. Edition of 3 + 1 AP

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UNA MILLA DE CRUCES SOBRE EL PAVIMENTO [A Mile of Crosses on the Asphalt], 1979

Video, 4:3, color, sound
5:15 min
Courtesy Alejandra Coz and Gallery 1 Mira Madrid. Edition of 25

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Being Strong is Hard, 2021

Video installation, Full HD, color, sound
4:13 min
© Leyla Yenirce Courtesy rthe artist. Edition of 3 + 1 AP

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In the gallery’s modernist pavilion located on the former monumental marching corridor of the GDR, the exhibition brings together fourteen artists and addresses the contradictory relationship between nation, state, and art. The artworks in the exhibition span not only from the post-war era to the present but also the variety of state systems: capitalist, socialist, democratic, authoritarian, and fascist.

A state is both an order and a condition. It is the social mediation of various conditions and the struggle for representation – recognition and rights – within that order that is conceived as politics. Art is implicated in this struggle for recognition and rights as it waged over the image of society. Here the nation-state provides the dominant frame which itself can be understood as constructed around a fiction: the congruence of the nation, people, and state borders.

Historically, art’s role in the construction of an image of the people was central to the birth of modernism and the emergence of different forms of nationalism, for instance, civic or ethnic. When appearing to be made by the people themselves, the images would situate an aesthetic judgment, producing an experience where the people recognized itself as autonomous and sovereign. This recognition emboldened a promise of universal and liberal values – freedom, individual rights, and rule of law – that the modern nation-state never delivered, as the over-represented oppressed those barred from sovereignty along racial borders.

Amidst what is widely perceived as a decisive rupture in the post–Cold War order, the exhibition brings together artistic practices that demarcate shifts in representation at the critical juncture of the nation-state today.

Installation view, the state I am in, Capitain Petzel, Berlin, 2022. Courtesy the artists and Capitain Petzel, Berlin. Ph: Gunter Lepkowski


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