Eight Berlin galleries alexander levy, ChertLüdde, HUA International, Klemm’s, KOW, Kraupa-Tuskany Zeidler, Plan B and PSM are happy to announce the second edition of K60, a group exhibition opening on Sunday, September 5th, 2021, at Wilhelm Hallen, Kopenhagener Straße 60 in Reinickendorf, Berlin. K60 is part of Hallen #2, a series of exhibitions, installations and conversations in collaboration with galleries, artists and curators, initiated by the founders of Wilhelm Hallen.
K60 will feature 30 artists, represented by the organizing galleries, with works spanning video, installation, sculpture, photography and painting.
Established last year as a reaction to the repetitive cancellation of cultural events, the re-enactment of the K60 initiative in the following year underlines the importance of collaboration between galleries and Berlin’s art community as a positive and ongoing practice. Especially now, when normality seems to be one step closer, it is crucial to continue to encourage dialogue, discussion, to dedicate space to the creation of new ideas and sharing of resources.
This year the galleries will be exhibiting in two ground-floor rooms of over 2000 m2, offering a further opportunity to articulate dialogue and highlight the common thread linking the works on display - while at the same time allowing each artist the necessary space to enhance their individual and unique research.
GCCMahd (Gesture III), 2017MDF, baby powder, sound, foam white wood (crate)104.5 x 165 x 7.62 cm | 41 1/4 x 65 x 3 inuniqueGCC/M 17-07/UUSD 30,000.00 (excl. VAT)
With ‘Gestures’ GCC further investigated the increasingly pervasive trend of Positive Energy gaining momentum in the Gulf region and how these lifestyle attitudes are appropriated, employed, and transformed as part of a greater political mechanism. In continuation of this, the works ‘Mahd’ (مهد, cradle in Arabic) turn to 'Heritage engineering’ as a prevalent practice in the Gulf that is used to prioritize certain aspects of culture to create and maintain a prevailing narrative of positivism. To this end, ‘positive energy movements’ have become co-opted by governments in the region; new ministerial positions like the UAE’s Ministry of Happiness are created, and the emerging life coaches and Feng Shui consultants are employed by the hereditary leaders. In Belief in the Power of Believe, the artists reference antiquity with a set of monumental sculptural reliefs based on 3D renderings of stills taken from YouTube videos and online images of regional practitioners promoting the positive energy movement as state policy. Referring to the erasure and creation of cultural myths, these reliefs become contemporary cultural artifacts: narratives of the present and the politics of cultural extinction and creation.
GCCMahd (Gesture IV), 2017MDF, baby powder, sound, foam119.38 x 157.48 cm | 47 x 62 inuniqueGCC/M 17-05/U
USD 32,000.00 (excl. VAT)
GCCMahd (Gesture VI), 2017MDF, baby powder, sound, foam, white wood (crate)118.74 x 189.23 cm | 46 3/4 x 74 1/2 inuniqueGCC/M 17-06/UUSD 30,000.00 (excl. VAT)
GCCMahd (Gesture V), 2017MDF, baby powder, sound foam, white wood (crate)118.74 x 189.23 cm | 46 3/4 x 74 1/2 inuniqueGCC/M 17-06/U
USD 36,000.00 (excl. VAT)
Guan XiaoDocumentary of Agriculture: Gathering, 2019printed vinyl, fiberglass, c-stands, stainless steel stands, headlamps, skis drill extensions, speakers, crystal resin with colored fiberbackdrop: 250 x 450 x 180 cm | 98 7/16 in x 177 5/32 x 70 7/8 insteel rack: 264 x 194 cm | 103 15/16 x 76 3/8 inhead: 70 x 110 x 65 cm | 27 1/2 x 43 1/3 x 25 5/8 inuniqueGX/I 19-07/UEUR 35,000.00 (excl. VAT)
The Documentary of Agriculture: Gathering, addresses the state of contemporary industrial production in relation to the so-called natural world. According to Guan Xiao, agriculture or farming is similar to science fiction. The more that we think about the future, and manufacture the so-called civilized world, the farther we distance ourselves from nature, the land and ourselves. The backdrop is composed of hyperspectral image classification, a form of algorithmic imaging that allows for understanding of the terrain, often used to improve land use for farming. Guan Xiao's use of the backdrop and creation of studio photo-shoot environment as a spatial device underscores the porous nature of image production that pervades our understanding of physical reality.
Slavs and Tatars2-Turn, 2019UV print, PVC steel340 x 580 cm
133 13/16 x 228 5/16 insuniqueS&T/I 19-02/UEUR 45,000.00 (excl. VAT)
Often found in grocery stores, butcher shops and the like, PVC curtains often demarcate a space for its hygiene or climate control. The curtains each feature the dual nature of fermentation, as a form of rotting and preservation, as well as a performance enhancer or hangover cure.
From the Work Cycle 'Pickle Politics'
Whether microbes or mitochondria dwelling furtively on the skin or non-native agents living within us: bacteria comprise one kilogram of the average human body. 'Pickle Politics' looks to the practices and symbolism of fermentation, constructing a political argument using notions of the rotten, the spoiled, and the soured.
Anna UddenbergSilver Edge I (in collaboration with Juan Alvear), 2020acrylic resin on fiberglass, spray filler, acrylic paint, UV nail gel173 x 23 x 23 cm
68 1/16 x 9 1/16 x 9 1/16 inuniqueAU/I 20-01/U
12,000.00 EUR (excl. VAT)
This series of large-scale manicured fingers come out of an early body of work titled 'The Girlfriend Experience' initiated during Anna Uddenberg’s studies at Städelschule in Frankfurt. With this series, the artist set out to explore the commodified experience of girlfriends-for-hire, an escort service that has gained in popularity in the last decades. She researched the language used to advertise this service and was particularly interested in the strategies to stage authenticity and genuineness. These large sculptures remain compelling objects that stand alone as signifiers of the fetishization of the body. As part-objects severed from a body, magnified and elevated to the status of artworks that stand in the gallery space like dominating pillars, this work demonstrates Anna Uddenberg’s excessive gesture to address the glamorization of the body. The effect is fascinating, but also profoundly uncanny and even discomforting.
Anna UddenbergSilver Edge II (in collaboration with Juan Alvear), 2020acrylic resin on fiberglass, spray filler, acrylic paint, UV nail gel139 x 24 x 19 cm
54 11/16 x 9 7/16 x 7 7/16 inAU/I 20-02/UuniqueEUR 12,000.00 (excl. VAT)
Anna UddenbergSilver Edge III (in collaboration with Juan Alvear), 2020acrylic resin on fiberglass, spray filler, acrylic paint, UV nail gel129.5 x 19 x 19 cm
50 15/16 x 7 7/16 x 7 7/16 inuniqueAU/I 20-03/UEUR 12,000.00 (excl. VAT)
Participating Galleries and Artists
Gereon Krebber & RHO Kollektiv
Petrit Halilaj & Alvaro Urbano Franco Mazzucchelli
Michael E. Smith
Slavs and Tatars