Sture Johannesson

Sociodelic Paths



30/10/11 – 14/1/12


>exhibition views<



Computer Paragraph in Yellow and Blueor: To live outside

the law you must be honest (Bob Dylan),1971

computer-generated drawing, silk screen, IBM 1130, programmed

by Sten Kallin, CalComp plotter














Keller/Kosmas (Aids-3D)

Avoid, Control, Accept, Transfer



11/2/12 – 31/3/12



>exhibition views<




text by Keller/Kosmas


In their debut at the gallery, Nik and Dan have continued to dynamically hedge their positions with a new body of sculpture and installation. Following protocol, they have more or less performed the following assessments: Identified assets and identified which are most critical, identified, characterized and assessed threats, assessed the vulnerability of critical assets to specific threats, and then determined the risk to those assets.


The array of defensive solutions they exhibit range in tactic from high energy density figurative painting, customized flood prevention, to a system of charitable body movements.


Ideally, the predetermined risks to the exhibition’s success will have been effectively managed, explicitly address uncertainty and assumptions, create value- (The gain should exceed the pain), and be capable of continual improvement and reassessment.














Florian Auer

How to Spend It



7/4/12 – 26/5/12



>exhibition views< 




How to Spend It


Florian Auer´s exhibition does not represent one of the ubiquitous attempts to deal, critique, or justify (and, finally, philosophise about) what has happened before and ever since the fall of the Lehman tower. It rather stages discretionary placeholders for the process in which a straight forward and niche exercise of calculating figures plus dealing with people and partners in the backrooms of industrial powerhouses became the center of both economic and public attention (and not least desires).


The presentation of financially loaded objects is hereby the focal point of the show. Many of them might be recognisable to some, none of them is invented or innovated; but made by the artist. They all are unified by the joy and the highs of professionalism, ideal and material.


And this is where the molds and frames are breaking. Between the offices and the studios, between tools and innovations, based on risque business.


The lows are less clear, however, present. Look back at what happened near Time Square in 2008 (and forget about Wall Street for a moment). Look at the Tombstones.

After all, we live in financial times. Including sushi.












The Still Life of Vernacular Agents


Michele Abeles, Lutz Bacher, Getho J. Baptiste, Peter Coffin, Kendra Frorup, Celeur J. Herard, Adriana Lara, Katja Novitskova, Racine Polycarpe, Fatima Al Qadiri and Thunder Horse Video, Evel Romain, Ettore Sottsass


curated by Nadine Zeidler



2/6/12 – 4/8/12



>exhibition views< 



Ettore Sottsass, Study for Tea Pot, 1973



The Still Life of Vernacular Agents is an assembly of works that come together to negotiate the following agenda:


High definition imagery, digital manufacturing, genetic engineering, and increasingly refined forms of virtual communication foster the debate on how these new realms of hybrid mediators challenge our concepts of being and reality.

The schizophrenia of division – between culture and nature, subject and object, life and death – as introduced by the Enlightenment has already been detected. A critical break with the supposed tribal naiveté – that interpreted natural objects as signals for human affairs, and which likewise viewed human songs and magic spells as potential forces of nature – did not really take place. While modern society became comfortable in its empire of dualism, it actually never stopped producing hybrids and networks. Threatening the categories of rationality, they were sent off to populate repressed spaces and the unconscious of the modern mind.

The expanding network of agents that connects subjects and objects in multiple forms and changing constellations calls for a new preoccupation with these mediators that make things talk, and through which references can be mobilized.














Slavs and Tatars

Not Moscow Not Mecca



12/9/12 – 3/11/12



>exhibition views<



Slavs and Tatars, The Dear for the Dear, 2012



>german version<


Founded in 2006, Slavs and Tatars is a collective that describes itself as a “faction of polemics and intimacies devoted to an area east of the former Berlin Wall and west of the Great Wall of China know as Eurasia”. Based on their research into the region and the various intersections of Slavic, Caucasian and Central Asian cultures, Slavs and Tatars’ work takes on the form of various media such as lectures, publications, prints, sculptures and installations.


In The Faculty of Substitution the artists investigate the role of the sacred and syncretic as a vehicle for social change. “Substitution allows us to tell one talethrough another, to adopt the innermost thoughts, experiences, beliefs, and sensations of others as our own”. In an effort to challenge the very notion of distance, Slavs and Tatars look into points of comparisons between the Orient and the Occident, modernity and Islam. Through moments of cognitive dissonance, The Faculty of Substitution discovers affinities among the apparently incommensurable and introduces histories beyond the grand hegemonic narratives of Communism and Islam.


Conceived as an installation for the Vienna Secession in May 2012, Not Moscow Not Mecca writes the “collective autobiography of Central Asia through the flora and not the fauna”. The exhibition activates fruits such as the quince, the sour cherry, the mulberry, or the watermelon as bearers of knowledge from various cultures and presents them as real and imaginary offerings in an open shrine. Each fruit stands for a linguistic, spiritual, emotional, or political form of syncretism across the steppes of Eurasia.














Katja Novitskova




17/11/12 – 19/1/13



>exhibition views<






Thousands of forms demise each year and thousands are born anew. For every extinct butterfly with a unique wing pattern a silicon wafer is printed, for every dying mosquito a digital image is uploaded. Fueled by human attention and primordial carbon, these massive populations of info-matter are roaming the Earth.


Recovery and Prosperity, the two successive phases of an upcoming economic expansion, will be marked by a rise of unseen species. So specific will be the ecological reality we cannot predict their agency. What we can do is render our emotional energy these beings will need to feed off: a map of formal intensities, unfolded from art and commerce. After months of neurochemical translations an ancient signal emerges. An animal. Bonding.










Carson Salter (AmbI)

a presentation on contemporary artist’s enterprises

thursday 24/1/13 7.30pm



Carson Salter, MIT artist and researcher will discuss artists who bring their knowledge to non-art markets. A short history of the artist-as-consultant (e.g. Artists Placement Group, Ocean Earth) and relevant contemporary cases (K-Hole, Rhei Research, etc.) will be framed in terms of productive ambivalence + ambiguity.

Those interested in enterprise as well as contemporary art are invited to attend. Carson Salter will be available for open office hours at Kraupa-Tuskany Zeidler from 21-24 January. If you are interested in meeting to discuss this topic, please contact the gallery.


Carson Salter (b.1984) is an artist, currently researching Art & Enterprise at Massachusetts Institute of Technology. He attended Colorado College, B.A. 2007, and The Mountain School of Arts in Los Angeles, MSA^ 2010. Salter positions himself as a consultant and business-services provider, specializing in knowledge management and contemporary enterprise culture. Past projects include The Teachable File (, a self-improving catalog & resource on independent art education, and Cambridge Book, an art book consultancy. His current work facilitates the introduction of artists into non-art markets.


















2/2/13 – 2/3/13









K-HOLE is a trend forecasting report by Greg Fong, Sean Monahan, Emily Segal, Chris Sherron, and Dena Yago. ECKHAUS LATTA is a fashion label by Zoe Latta and Mike Eckhaus. Both groups are based in New York.


The deodorants BRAD and YOU are the result of a conversation between both groups regarding anxiety. BRAD smells like Old Spice. YOU is composed of dirt, counterfeit Chanel No. 5, vetiver, rose, Marlboro Lights, pepper, smoked barley, saliva, and lanolin. Both were made by hand in upstate New York.


K-HOLE’s third report, which features the K-HOLE Brand Anxiety Matrix, is available as a free PDF download at and as a set of 100 limited edition USB carabiners.


ECKHAUS LATTA will be presenting their third collection during New York Fashion Week A/W 2013.


The deodorants will be available for purchase at Kraupa-Tuskany Zeidler and online















Ecology 1: Art & Democracy
A conversation between Daniel KellerChristopher Kulendran Thomas, Timur Si-Qin andHito Steyerl


Saturday 20/4/13, 5pm


Karl-Liebknecht-Straße 29
10178 Berlin
1st floor, room 01088


Daniel Keller, Timur Si-Qin and Hito Steyerl will lead a discussion, convened by Christopher Kulendran Thomas, to consider whether the increasingly networked condition of art holds the potential for art’s radical democratization.

As art’s existing institutional forms, such as the gallery, are reconfigured within broader ecologies, what does it mean to risk art’s very status as art?

What might art be for as a widespread part of daily life?

What could be at stake in negotiating art’s entanglement with non-art processes such as those of commerce or the state?

What might be left of art on a level playing field with branding or business or government?

And what possibilities might emerge from the art of networks, as sites of intersection between human and non-human materiality, for democracy itself?














Christopher Kulendran Thomas

When Platitudes Become Form



16/3/13 – 20/4/13



>exhibition views<





Taking as materials the whole system by which art is distributed, existing artworks are purchased from the politically unstable margins of international art power and reconfigured to fund a part-clandestine evisceration of contemporary art’s globalising mission. Through this ongoing insurgent enterprise, cultural exchange is explicitly perverted by the underlying colonial trading patterns that it usually masks. Art here is ecologically contingent within its networked reality. Counter-manipulating imperial interdependencies of art and war, a conspiracy of consequences is set in motion that extends beyond the work’s as yet visible horizons.














Avery Singer

The Artists


26/4/13 – 22/6/13


>exhibition views<








If one views the past, be it in glances through old magazines, in movies of lost eras, or in visions of what was to come, the stream of history is laid bare, flowing forward to the present day.If one stops at a certain point and ignores what has followed, the stream opens up and the flow is forced to take whatever path we fancy.


The Artists presents a romanticized and slapstick vision of how we are or are not living. Staged figures occupy the realm of unrealized buildings or monuments, their geometric stylization skewing human forms into architectural plottings. The eyes of the dreamer rest upon both a forgotten vestige and a future transpired, with a sense of sentimentality overshadowed by a cold and uncanny pallor. These opposing viewpoints converge to produce glimpses of alternate timelines, where idealized visions of contemporary life and bohemia are filtered through past conventions. The mythologized status of the artist as a social being is examined as it exists and as it has been fantasized.


The works’ colorless palette and constructivist aesthetic hint at records of nonexistent times, commemorating absurd regimes that never came to fruition. Noirish shadows spread under expressionistic backlighting; the breezy theatricality of a performance piece freezing into history painting, a communion between artist friends becomes enshrined in neoclassical simplicity. Contemporary media, meshing with bygone trends of the historical avant-garde, produces a perspective of aesthetics that falters to find a foothold on the accepted timeline of art history.


All the works here can be seen as dedications offered as passionate answers to the necessity of fleeting and overburdened ideas.  The paintings project unrealized actions and sculptures, the writing - Cologne Painter – an exhibition never to be displayed. Cologne Painter is satire poking fun at the sanctioned language of the press release, and a part of a collection of writings to be published in novel form under the title Press Release Me.














From Radiance and Dissolution


Aids-3D, Max Eastley, Diogo Evangelista, Tamara Henderson, Eduardo Kac, Alex Kwartler, Kareem Lotfy, Chris Martin, Georg von Welling, James Whitney, Adolf Wölfli


curated by Margarida Mendes



5/7/13 – 10/8/13



>exhibitions views<






Within this era of great acceleration, with suspicious eyes and moderate disbelief, we face abstraction today. Given the atmosphere of hybrids that continuously proliferates around us, as sign of the distortion and opacity provoked by the accumulation of successive layers of abstracted value, finite entities can no longer be perceived as such. Instead, these operate as spectral surfaces for conduction of meaning, ideal vessels that, more than ever, allude to zones of intensity in permanent battle.


From primordial spiritualism to the rise of algorithmic mysticism in the early cybernetic days and the era of financialization, the role of abstraction has always been that of rendering complexity and representing the unknown. For this greater task, man developed scientific tools and mystical discourses to help him comprehensively map the universe and explain the mysteries of the cosmos. However, the study of teleology was soon proven doomed by the very fallacy of transcendental reasoning, which only raised blurry conflicts and a continuous collapse of meaning.


In reaction to the overload of these processes of encryption and erasure, today’s take on abstraction is as complex as ever, for it is the result of a clash of previous models. The inclusion of satire or randomness, along with the resurgence of naiveté or psychedelia, allows thus the present moment of post-digital abstraction to be considered as relevant as it is criticisable by its superfluous expenditure, that exhausts the visual domain.


Could we be facing a moment where imagery and information has reached such an hybrid level, that any image is but a blind spot or an after image of itself? And if so, should we feel enclosed or relieved by the possibility of an ever-renovating mutant form which transubstantiates itself?


From Radiance And Dissolution is an exhibition about the structuring forces that run through representation regimes, with its focus on processes of liberation of form. From stream-of-consciousness, to visual hallucination, or fluid computation, this exhibition includes works that appeal to the formlessness of the inner eye, stimulating the ephemeral biochemical cartography of the human and the empowered expansion of form. For the quest of abstraction is still as pertinent and as precious as ever – almost similar to that of alchemy – in seeking the substance of an image itself through a search for the unknown.


Margarida Mendes














Liquid Autist


Simon Denny, Tue Greenfort, Jonathan Horowitz, Daniel Keller, Nick Lalla, Emanuel Rossetti & Tobias Madison, Don Pettit, Martin Thacker, Timur Si-Qin, Michael Wang


curated by Daniel Keller


20/9/13 – 26/10/13



>exhibitions views<






The metaphor of liquidity in business, economics, and finance has been trending hard in the years following the financial crisis. Think of the ‘flows’ of goods and capital, ‘dried up’ credit or even ‘bailouts’. The Journal of Cultural Economy dedicated an entire issue to the analogy, claiming it as the central image of the global economy with which we must grapple and alter if we want to see positive change across international financial systems. But there is a crucial contradiction between this style of imagery and the reality it is supposed to describe. The actual liquid asset (as it exists as an object within the the global financial system) does not look like a liquid at all. Rather, it looks like an impossibly simple, self-contained unit within a system, both market and cultural, that assures its value to be universally understood as stable and regulated. More than any other innovation, it was the standardized shipping container’s invention in the mid 20th century and the subsequent ‘containerization’ of global trade which allowed for the impossibly ornate, automated just-on-time supply chains we take for granted today.

The cube is the granular avatar of the global liquidity network — not a Getty image splash of mouthwash-colored fluid isolated on white.

The 1997 Vincenzo Natali movie, Cube, features the severely autistic Kazan, whose savant-like ability to quickly compute prime numbers in his head, allows him to eventually emerge as the only survivor of the cubic labyrinth. Boxes are frequently associated with autism both as metaphor for the ‘disconnected and closed-in’ feelings typical of autism and as the literal ‘hug box’ or ‘hug machine’: a therapeutic device for autistic people invented by Temple Grandin. The device, which constrains the user inside an adjustable padded enclosure is modeled on a similar apparatus used in slaughterhouses also invented by Grandin. In a notorious 2012 incident, an American teacher was fired for forcing an autistic student ‘into his box’ as a cruel disciplinary measure.

The (highly controversial) Evolutionary Psychology journal recently published the ‘Solitary Forager’ theory of autism, characterizing ancient autistic people as ‘…ecologically competent individuals that could have been adept at learning and implementing hunting and gathering skills in the ancestral environment.’ Meanwhile, there seems to be a popular belief that the recent spike in autism rates (1 in 10000 in 1970, when it was defined vs. 1 in 50 in 2013) is some sort of emergent evolutionary defense mechanism against the cacophony of stimuli in hyper-networked society: rather than a disorder, autism is seen as some kind of superpower.

In many ways, the autistic has emerged in recent years as a kind of dark Weberian ‘Ideal Type’ for our age. Portrayed either as victims (of a global conspiracy of technocratic wonks vaccinating our children into dystopian inhuman nightmare babies or the tragic Hikikomori youth of Japan and World of Warcraft-obsessed loners of suburbia who can only connect with the world via a vast network of machines); or as a new breed of hero (the Ron Paul acolyte, on the fringes of society but claiming to know how to cut through the illogical mess of contemporary politics and economics with glaringly simple, common-sense models of how the world should function; the Silicon Valley ‘hacker’, who despite lacking social skills redefines human relationships through the social media software he designs). As political actors, each of these types are strongly associated with American-style Libertarianism. Some have even called Libertarianism ‘applied autism’.

Beneath that broad Libertarian heading, what ties each of these disparate types together (both the reactionary and active/creative) is a direct and strangely negotiated relationship between the abstract models and images with which these characters make sense of their highly networked world, and the world that they then see in front of them. In the case of the more powerful, heroic brand of Libertarian autistic type, there is a direct and even visible relationship between abstract models and the world he actively creates. We can identify this sort of libertarian map/territory mix-up in the private space industry, seasteading, Elon Musk’s hyperloop proposal, the urban plans of emergence theorists, the trend of diagrammatic architecture, ‘big data’ modeling of critical mass, and tipping points in the assessment of the value of social media companies, all the way to the policy prescriptions of the libertarian Cato Institute’s economic and political poetics of the self-driving car as the true ‘coming-into-being’ of American freedom. All of these together amount to the application of a sort of autistic logic to the shape of our near-future society.

In the anime series Ghost in the Shell, ‘Autistic Mode’ is a defense mechanism used by cybernetic soldiers to protect their minds from external harm by disconnecting completely from the ubiquitous mind-connected internet. Indeed, a user on the autism message describes his belief that he is able to consciously enter and exit an ‘Autistic Mode’ at will:  ’I have now achieved so much understanding of myself that I can now consciously “jump in and out” of autistic mode. In autistic mode I believe the thoughts in my head to be reality. There is a filter from the world as it is to my perception of the world…. In non-autistic mode there is no filter from the world as it is to my perception of the world. I’m in the world. The only truth is what I sense around me.’

::Engaging Autistic Mode::



Text by Nick Lalla and Daniel Keller


















with Julieta Aranda, Ian Cheng, Diann Bauer, Daniel Keller, Katja Novitskova, Hito Steyerl, Andreas Töpfer; curated by Armen Avanessian and Kraupa-Tuskany Zeidler


Großer Saal, Karl–Liebknecht–Straße 29, Berlin


14/12/13, 12-8pm



Andreas Töpfer, KW5 28.01.13-03.02.13



14.12.13 is the name of an exhibition. 141213 is a jumbled sequence of numbers.14,12,13 is a chronological disorder. 14/12/13 indicates a fundamental multidimensionality of time: every present will be past and was futural. Today doesn’t add up, even if contemporary art tries to make sense of it. Fourteentwelvethirteen will be up for only one day and doesn’t make sweeping statements or give a panoramic view. How does one oppose an exhausted aesthetic paradigm of art, in which artworks beg for ever new critical judgments, so that (art) history makes its weary progress? For quite some time, all attempts to overcome the modernist logic of progress has been misunderstood as postmodernism. Instead of the museum’s notion of historical linearity, other forms of assembly emerge. 14.12.13

Whether we call them contemporary or not, works of art have the task of regaining the future, allowing us a different look back at our present. Instead of an aesthetic art, with its focus on the phenomenological experience and perception (aisthesis) of time, there is plenty of reason for art to focus on the production (poiesis) of time. Only then will we have an understanding (noiesis) of time, and only then, when we look back from the future, will we be able to say that not just le passé est imprevisible, as Quentin Meillassoux does, but that also our present is unpredictable. Today is unpredictable. Now is contingent. And, there is no reason for the present to be as it is. Everything can change at any moment in time, on any contingent date. 14.12.13

How to establish new possibilities, instead of just exploring existing ones? How to try overcome the hyper-correlationism of aesthetics and its beloved aesthetic experiences? Leaving behind the familiar structures of aesthetic judgment is not a move toward uncriticality. Why bother with all this Kritik, critique, criticality which is stuck in a perpetual state of narcissistic self-reflection and utterly incapable of getting out of the reflective loops it entangles itself in? No one needs to hear any more critical reflections on all the subversive political or moral agendas of art works that in any case never really talk philosophy or about art. Begin here instead: that whatever is contingent remains tied to a space of possibilities, which is not immutable. It remains variable and is exceeded only by creative abductions, not via the more established forms of inference, scientific deduction and aesthetic induction. Art and philosophy should join their experimental forces: no speculation without experimenting with language, as Isabelle Stengers reminded us.  14.12.13

Recursion not reflection: seizing parts of reality, manipulating them and making something new. Artworks that recursively appropriate the language of corporate business — instead of just laundering its money with the usual bit of bad conscience — need no complicated conceptual introduction. Not a reflexive meta-exhibition, not the usual curatorial know-it-all-ness about the meaning of the particular and the assembled, this exhibition proposes other formats: a recursive incorporation and integration of parts into a new whole. 14.12.13

Beyond the constraints of transcendental defeatism (following the chrono-logic 12–>13–>14) there always was an unpredictable present. Instead of reflecting on the present as a transition from a given past to a predictable future, art and philosophy can speculate on a new time, a new reality. Obviously. Again. But no time this time for catastrophism. The speculative is instead the time of anastrophism. 14.12.13

Armen Avanessian








A symposium on tendencies in capitalism


curated by Armen Avanessian and Matteo Pasquinelli


Großer Saal, Karl–Liebknecht–Straße 29, Berlin


14/12/13 10-8pm







10:00 – 10:30 Armen Avanessian and Matteo Pasquinelli, Introduction


10.30 – 11:30 Ray Brassier, ‘Wandering Abstraction’
Moderated by Armen Avanessian



+ Opening of “14.13.12″
+ Book launch of #Akzeleration (


13:00 – 14:00 Josephine Berry Slater, ‘Epistemic Panic and the Problem of Life’


14:00 – 15:00 Benjamin Noys, ‘Days of Phuture Past: Accelerationism in the Present Moment’


15:00 – 16:00 Elisabeth von Samsonow, ‘Electra’s Oracle’
Moderated by Matteo Pasquinelli




17:00 – 18:00 Nick Srnicek, ‘Technology, Capital, Value’


18:00 – 19:00 Alex Williams, ‘The Politics of Anticipation’
Moderated by Ana Teixeira Pinto


19:00 – 20:00 Reza NegarestaniA View of Man from the Space of Reasons (via Skype), moderated by Armen Avanessian












Panel: Geopolitical Accelerationism



11.30am – 1:30pm


Karl-Liebknecht-Straße 29

conference room 1st floor

As new technologies fluctuate our social presence, we question the nature of how information and experience circulate in social structures and participatory practices today. Through new media and expanded information networks, the circulation of images is becoming a new form of economy in our increasingly technological based society. Looking at how technology, economics, and ecology are linked is being explored and studied through neo-materialist practices, and also in the general move away from the Anthropocene in anthropology and philosophy. This involves viewing cultural artifacts, while acknowledging their expanding digital environments, as evolving forms that co-exist in complex ecologies of matter and value. In “Some Trace Effects of the Post-Anthropecene: On Accelerationist Geopolitical Aesthetics”, Benjamin Bratton writes, “Any conjunction between aesthetics and politics (for a political aesthetic, an aestheticized politics, a geopolitical aesthetic, a politics of aesthetics, and so forth) is necessarily fraught by estranged agendas—all the more reason for us to conceive of their inter-activation from a willfully ahumanist perspective”. Looking at how we “harvest” information, modern natural resources, cloud networks, the isolation of database centers, immaterial labor, and the expansion of cyberspace, how have the failures of previous cybernetics experiments informed us today that nature is not a self-regulating ecosystem? How can we address political climate and culture as climate change?

Participants: Julieta Aranda, Armen Avanessian, Benjamin Bratton, Simon Denny, Anne de Vries, Prof. Dr. Susanne von Falkenhausen, Katja Novitskova, Benedict Singleton, Christopher Kulendran Thomas. Moderated by Elena Gilbert.











Ceremonial Achievements


9/11/13 – 31/1/14


>exhibitions views<





Ribbon-cutting is traditionally an act of inauguration and frequently announces the opening of a space to the public. The ceremony is used as a self-aggrandising tool to commemorate a bureaucracy’s own officials and dignitaries.

However participation in the ritual is not purely symbolic – ribbon cutting creates a platform by which state leaders and officials secure their omnipresence. The ritual reinforces the idea of a stable, benevolent government, and subsequently a unified GCC.

In Ceremonial Achievements, GCC draws the viewer into an ceremonial vortex in order to direct attention to this very particular mechanism of power consolidation that exists at the thresholds of public and private space.

GCC is a collective based in the Arabian Gulf. Their name is taken from the English abbreviation for the Gulf Cooperation Council, a governmental union comprised of six of the Arabian Gulf countries.  GCC excavates conventional Arabian Gulf society to create a multi-dimensional narrative. The collective consists of Abdullah Al-Mutairi, Amal Khalaf, Aziz Al Qatami, Barrak Alzaid, Fatima Al Qadiri, Khalid al Gharaballi, Monira Al Qadiri, Nanu Al-Hamad and Sophia Al Maria.










Florian Auer

Blue Prints


22/2/14 – 17/4/14


>exhibitions views<





Blue Prints conceives the exhibition space as a plane of colliding dimensions. Angles, shadows, interfaces, liquid camouflage, and perspectives cast the physical environment into a scenario that arouses the very act of recognizing. A throw of dice opens up a virtual arena with its own chances. Due to its purposeful use of blank space and careful placement of 3-dimensional ideas Blue Prints proposes a concept of hyperreality allowing multiple non-linear readings of reflexion. Ideas of virtual renders on their way to perform and mediate congealed in time; a space turning into a frozen spectacle.












Katja Novitskova - Art Basel Statements


Hall 2.1 booth S9

Messeplatz 10
4055 Basel
19/6/14 – 22/6/14


















Katja Novitskova

Spirit, Curiosity and Opportunity


3/5/14 – 28/6/14


>exhibitions views<




The objects found in this fossilised collection look like cubes, polygons, slots, arrows, round holes, bones, feathers and even artistic impressions. It may have resulted from a variation of the same basic process which forms fossils on Earth, where mud replaces organic material over time. There is a small possibility that some of the original artifacts are still present around the crater.

A few artifacts have been minimally sharpened or enlarged for clarity purposes only. No manual “pixel twiddling” was ever performed on any image in this exhibition. Panoramic camera source images for these artifacts were only available in JPEG form on the NASA archive servers.

Not all images here can be dismissed as natural rock formations. Red outlines show unusual shapes: note the indentations on the rocks in the back of the image (arrows). Could this be a fossilised life-form or a mechanical artifact? Perhaps these two heavily censored images of a scrambled sky and altered ground surface originally displayed real objects on the planet, which we are not allowed to see. This perfectly formed object is outlined by the sun’s shadow and resembles a bird or vehicle. Does this rock have lettering? And what is that if not a female figure, and a possible child and man near it?















John Seal

look to the void with expectation, oh precious and pregnant hope


12/7/14 – 9/8/14


>exhibitions views<





At the moment when everything was being destroyed she had created that which was most difficult: she had not drawn something out of nothing (a meaningless act), but given to nothing in its form of nothing, the form of something. – Maurice Blanchot “Thomas the Obscure”

She looked out the window for a long, silent moment before she turned back to the friend who was sitting in her apartment with her. Her friend had been pretending to read a piece of junk-mail, quickly scanning the ad copy for something easy to mock—just in case the conversation died too painfully.

“The world is there. Out there. And we are part of it.” She spoke without really considering what she meant, which made her voice sound hollow–the voice of a cloud chasing its shadow over a hillside. The comment hovered until it drooped, fell, and made a stain on the floor.

Her friend looked down at the stain as she opened her mouth to respond. Glad not to have to resort to cheap sardonics–poking fun at the advertizing–her friend said, “The world is here, too. And that window is part of a system of biases contained in the architecture, and the personal items with which you have decorated it, and all the experiences you have had here, and all the experiences you have been told you have (or should have) had…”

“Yes, yes, yes,” retorted the window gazer, “and all that window can show us is a compilation of information that has been cataloged and predigested; and perception is just a load of shit; and something about Kant and epistemology; and blah, blah, blah!” A slight blush of embarrassment rose to her cheeks as she realized that she was angry with herself. She was critically lashing out at her own beliefs and not necessarily those of her friend.

“Well, not necessarily, my friend,” the window gazer’s companion countered. “It depends on how the system that includes the window is ordered, and how you are ordered to interface with that system. That window is not Wikipedia, at least not yet it isn’t.”

The stain on the floor began to widen a little. It seemed to grow denser, deeper. Through the stain they were just able to make out faintly a banner ad for an appliance sale at a national retail chain, and a flashing, imploring invitation to chat with local singles.

The hand of the window gazer’s companion returned to the plate to retrieve the last medallion of toasted “Pain Paysan,” a skinny oval loaf with an impenetrably hard crust. “Funny name for a loaf that cost $8,” she thought.

Her friend had taken pains to retrieve some butter form a small, local dairy at the farmer’s market earlier that morning. “I really think it’s the he best butter you can get!” the window gazer had proudly crowed.

“Is this all life can be?” she thought as her teeth pierced the crunchy surface, “An absurdly expensive romanticization of some long gone and highly dubious country life, slathered with a greasy coating of ‘the best you can get’ to ease the swallowing?” A little bit of errant saliva had almost passed her lips before it was quickly soaked up by the napkin she thankfully had in hand to mop her buttery fingertips. In that bit of saliva was probably a whole universe, whizzing and buzzing, ordered in its way, and much like our own. No matter. It is gone now.

“Well, the world is out there, or it is here, or it is this window, but somewhere on the other side of something is the world. I just wish it didn’t sound like an admission of faith to say it,” moaned the window gazer.

“Remember that quote you loved so much in college? The one from that 1970s film theorist, Markum, or Marcus, or…”

“Her name isn’t Markum.”

“Oh? What was it?”

“I don’t remember. I could look it up, but I’m not going to. What about it?”

“It read something like:”

To make something appear in this world takes such a delicate hand. One small nudge with too much force in the direction of the radical, the new, will cause an object (particularly an objet d’art) to quickly disappear under its easily recognizable and thus easily marketable ‘radicalism.’ It will be thrown to the swine as a flashy piece of rhetoric, and its central mechanism will be copied by everyone looking to make pearls cheaply.

“Well? What about it? Of course I remember it, but what about it?”

“It’s reality, you see? Every time you establish a reality it breaks under the weight of its utilization. It is like an artwork. It loses meaning when it is forced to appeal to system outside of its intended scope—and reality might be the only artwork we’d have if it weren’t for…”

“Ugh! Let’s get out of here. This place, you, that stain on the floor, reality, it’s all driving me crazy!” cried the window gazer. Her cheeks still a little inflamed, her voice rose to an almost-wail. “Let’s go to the park. Get some fresh air. Watch the turtles sun themselves.”

The sun through the window lit up a column of tiny dust motes. They churned and swirled like protozoa dancing with newborn stars in a cosmically primordial swamp. Below, almost the entirety of the stain was taken up with a pop-up ad begging participation in a survey to help streamline access to the deepest reaches the psyche.

“Wait,” her friend interrupted, “I almost forgot. Our painter friend texted when you were in the bathroom. He wants to know what we are doing.”

“Tell him: ‘Nothing.’”

“Oh! Ho! Ho!” chuckled the gazer’s companion, and then continued in an intentionally drab monotone, “Turn to the void with expectation, oh precious and pregnant hope.”

“You little snob!” squealed the window gazer, “I don’t know why I waste time on you.”





















Guan Xiao

Something Happened Like Never Happened

18/9/14 – 1/11/14


>exhibitions views<



We access the world through a massive material bank. You can find almost everything you are interested in online. Everything spreads out in front of you – you just need one second. Things are always encountering each other and encountering you. Every day you are seeing nonstop; every day there are a myriad of images being dumped into your awareness. But things themselves have no significance; their values only appear in your cognition. Therefore, fascination through phenomena is endless, but the reason for this fascination is relatively constant — and it is only yours. The flow of images and information influences the way we make art, and more specifically, influences the way we see. The various categories, media and histories become materials to use. Not only is the amount of things to see at the same time growing exponentially, but our various sensory experiences are becoming compressed into a layer of “seeing.”

I am fascinated by these moments of encounter and the ways in which these things relate to me. They help me to find out how I am getting along with this world. What is it we’ve seen? Why would we like to see? How do we see?

Everybody is a star. When you find your position and make your own relevance, your world will start running.













thank you


Aids–3DFlorian AuerGCCSture JohannessonK-HOLE and ECKHAUS LATTA, Daniel KellerKatja NovitskovaAvery SingerSlavs and Tatars, Guan Xiao


15/11/14 – 31/1/15


































>gallery exhibition 2012<



Outperformance Options ATM Partiton, 2012

UV printed images from Contemporary Art Daily on perforated

window film, Solyx Ice Galaxy window film, Solyx Cut Glass

Drops window film, safety glass, stainless steel



DoActive TogehtAware QuadXL, 2012

assorted charity, negative ion and performance

enhancing wristbands




Ideal Work (Creative Solutions), 2010-11

solar penals, mixed media




Energy Conversion Device I, 2011

Yves Gentet ultimate hologram of LOF® diamond blue

photovoltaic cell, safety glass, LED spotlight




World Community Grid Water Features, 2010-12

fiberglass resin, fountain pumps, waterproof lighting,

mini-PCs, WCG software, steel platforms




OMG Obelisk, 2007

MDF, electroluminescent wire, steel poles, acrylic paint,

lamp oil
















Florian Auer




>gallery exhibition 2012<


>gallery exhibition 2014<


Not Yet Titled (ticker tape), 2013

print on black board, paper, airbrush, neon, transfomer

80 x 49 x 23 cm



Not Yet Titled (Calculator 2), 2012

print, airbrush and paper on glass, frame




How to Spend It installation view, Kraupa-Tuskany, 2012





Not Yet Titled (Brick-Wall Chart 1), 2012

print and paintbrush on plexiglas, Financial Times paper,

credit cards, foam board




Island, 2011

inkjet-print on mirror, spray paint, wood, mixed media




Sky (draft), 2010

mixed media





















>gallery exhibition 2013<



exhibition view, Ceremonial Achievements, Kraupa-Tuskany Zeidler, Berlin, 2013


Berlin Congratulant, 2013

glass, brass, metal, zirconica diamonds, wood, marble veneer

138 x 45 x 45 cm



Ceremonial Sphere 1, 2013

digital print on aluminum dibond

60 x 60 cm




Protocols for Achievements, 2013

video, digital photo frame

3:05 min, loop




Figure A: Amalgamated City, 2013

wallpaper, fireworks projection, sound on headphones

400 x 3 000 cm




Figure B: Micro Council, 2013

wood, brass, acrylic glass, glass

12.6 x 67 x 67 cm




Inaugural Summit, Morschach 2013 1, 2013

digital c-print

70 x 103 cm
















Sture Johannesson




>gallery exhibition 2011<



The Aquarium Planetarium: Day and Night – I Am You –

Copenhagen, 1969

lithograph printed by Permild & Rosengreen, Copenhagen




Intra Secus catalogue – Computer Art, 1974

Intra Secus project together with Steen Kallin 1970-1975




Intra Secus – Leaves, 1971 (variation 1)

computer generated drawings, IBM 1130 programmed by Sten

Kallin, CalComp plotter




Computer Paragraphs, 1975

screen print from generated drawing – IBM 1130 programmed

by Sten Kallin, CalComp plotter




The Digital Theatre – Faces of the 80s: Bob Dylan, 1983

silkscreen print from Apple II generated computer graphic




The EPICS project: Close Code, 2005

lithography with gold dust from Sefirot tree generated with

the FIELDS program
















Daniel Keller





Freedom Club Figure, 2013

Ted Kacyznski’s backpack purchased from US government online auction, Hans Boodt Mannequin

180 x 60 x 30 cm




FUBU Career CAPTCHA (b2b itself replic), 2013

multicolor 3d prints

38 x 25 x 1.2 cm each




Soft Staycation (Gaze Track Edit), 2013

Flexible LED video curtain display, PC, video

240 x 440 cm
















Katja Novitskova




>gallery exhibition 2012<



>gallery exhibition 2014<


exhibition view, Rijksakademie OPEN, Amsterdam, 2013



Shapeshifter, 2013

broken silicon wafers, epoxy clay, nail polish, acrylic case,

wooden capital

25 x 37 x 13 cm




Approximation II, 2012

digital print on aluminum, cutout display

130 x 112 x 20 cm




Orlando, curated by Luca Francesconi

Foundazione Brodbeck, Catania, Italy, 2012



Innate Disposition, 2012

Digital print plastic cutout displays




Exotic Pets, 2012

deflated gym ball, Nike push-up grips




Post Internet Survival Guide

Revolver Publishing, 2010
















Avery Singer




>gallery exhibition 2013<



Performance Artists, 2013

acrylic on canvas, 264 x 198 cm




The Studio Visit, 2012

acrylic on canvas, 244 x 183 cm




The Great Muses, 2013

acrylic on canvas, 220 x 196 cm




Saturday Night, 2013

acrylic on wood panel, 152 x 111 cm




Jewish Artist and Patron, 2012

acrylic on wood panel, 91 x 91 cm
















Slavs and Tatars




>gallery exhibition 2012<



PrayWay, 2012

silk and wool carpet, MDF, steel, neontubes




Never Give Up The Fruit, 2012

hand-blown glass, paint, bulb, electrical socket, wooden structure

dimensions variable (32 melons à 27 x 18 cm)




Resist Resisting God (Version 1), 2009

silver mirror mosaic, plaster and wood

100 x 150 x 10 cm




Dig the Booty, 2009

vacuum-formed plastic

64 x 91 cm




Exhibition view Byonsense, MoMA, New York, 2012














Kraupa-Tuskany und Zeidler GbR

Karl-Liebknecht-Straße 29 / 10178 Berlin

VAT Nr. DE286872011