post-title paperfile #14 | Group Exhibition | Galerie oqbo | 01.09-30.09.2018

paperfile #14 | Group Exhibition | Galerie oqbo | 01.09-30.09.2018

paperfile #14 | Group Exhibition | Galerie oqbo | 01.09-30.09.2018

paperfile #14 | Group Exhibition | Galerie oqbo | 01.09-30.09.2018

until 30.09. | #2153ARTatBerlin | Galerie oqbo shows from 1st September 2018 the group exhibition paperfile #14 with works by eight artists.

Exhibition with Marcus Bjernerup (Berlin) Markus Linnenbrink (New York City) Alice Musiol (Cologne) Jochen Schneider (Berlin) Martin Schwenk (Dusseldorf) Sylvia Schwenk (Berlin) Jana Troschke (Berlin) Heiko Wommelsdorf (Hamburg).

This year, paperfile enters the 14th round. The heart of the producer gallery oqbo | room for picture word and sound offers a carefully selected mix from drawings, photographs, digital prints, collages and many other forms of expression on paper. paperfile #14 complements 2018 the drawing archive in the paper cabinets of the gallery with new, exciting positions.

ART at Berlin –Courtesy of Galerie oqbo – Presse_paperfile 14
paperfile #14 2018

Container Love | Andreas Schalhorn
A plan or graphic cabinet, ie what is called paperfile in English, is by no means uncommon in the art world beyond museum collections of drawings and prints. Plan cabinets can be found, for example, in the administrative and ancillary rooms of galleries, art shops or art associations. However, direct use by the public is only possible in exceptional cases. The actual music plays anyway in the exhibition rooms, in which then large-scale paintings, sculptures or (video) installations are shown. As a rule, in the commercial galleries, it is precisely this work that brings more or less big money, while the drawings in the drawers sometimes have the status of moderately priced gifts. The “model oqbo”, which assigns the graphics cabinet, in which many artists’ drawings are stored in folders on several levels, as a prominent, indeed meaningful role, is another very special thing. Certainly not without a forerunner: One must remember the Galerie Völcker & Freunde in Auguststraße 62, which no longer exists for several years, in which the author probably came across a roughly waist-high metal plan cabinet in 2003 with drawings by modern and contemporary artists who, according to the ideas of gallery owner Wolfram Völcker, should be something like the centerpiece of his gallery. Völcker was inspired by Gallery Pierogi (www.pierogi2000.com), which was founded in Williamsburg / Brooklyn in the mid-1990s, and still sees the flat files as the crucial platform for their work, ie, plan cabinets that become containers for flatware of any kind. which – as with oqbo – can also be browsed online. The drawers are filled with drawings, prints, and painterly works as well as photographs. (From 2006 to 2008 Pierogi was incidentally in Leipzig in the former cotton mill with a branch represented.) What the project space oqbo, by the way, even in “bild” (exhibitions), “word” (lectures and readings) and “ton” (Concerts) categorized events realized, certainly connects with Pierogi, the idea is to use the paperfiles as a storage medium that by exchange and enrichment with completely different work on paper from constantly new, unknown, well-known and arrives in the art market artists a permanent Charging experiences. Each plan cabinet forms a sui generis battery – to speak a little bit in the plastic mind of Joseph Beuys, whose sculptural “fundraising” work comes to my mind.

The energy stored in the paperfiles in the form of artistic creativity is experienced by those who take the time to explore at least a drawer on their content and thus experience in paper, paper and technology quite different works of paper without a separating frame at close range. This requires a certain amount of leisure and attention from the users of paperfile. A quick look, with which, for example, the works can be scanned in an exhibition space is not possible or meaningful. Mindfulness and deceleration to fashionably label it are clearly beneficial. But their use is profitable: the more one, engrossed in white gloves, engrossed in the once unknown treasures (often small-format aesthetic explosives sui generis) in the drawers, by lifting them and bringing them to light, the more one forgets Time and space around you – even if many of the drawings act on their way of time and space, body and vision. And teach new vision. oqbo does not hide his plan cabinets in the quiet little room, but always goes back to where it can be noisy and noisy and focused art viewing does not succeed so easily: On the art fairs. I like to remember the presentations 2012 at the art fair Preview in one of the big hangars of the former Tempelhof Airport. In the context of the bunks and booths, the table-high paperfiles provided a haven of peace, marking a place of concentration. Whether in Brunnenstrasse or when traveling, each drawer opens up new perspectives on contemporary drawing art, not just in Berlin, which in this way gains an open platform that the art world can not otherwise offer. Therefore – in the name of the drawing and its distribution as an autonomous art form – oqbo and his papierfiles still many decades of action to wish!

Dr. Andreas Schalhorn (curator of contemporary art at the Kupferstichkabinett of the Staatliche Museen zu Berlin)

Vernissage: Friday, 31st August 2018, 7 pm

Exhibition period: Saturday, 1st September 2018 – Sunday, 30th September 2018

Passagenprojekt / Patrizia Bach: Friday, 7th September 2018, 8 pm

My artist books as archives of picture and word: Wednesday, 19th September 2018, 8 pm – “Giving It All Away”

Zur Galerie oqbo

 

Bildunterschrift: Courtesy of Galerie oqbo – Presse paperfile #14

Exhibition paperfile #14 – Galerie oqbo | Zeitgenössische Kunst in Berlin | Contemporary Art | Exhibitions Berlin Galleries | ART at Berlin

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