Andreas Sell | forget art

Tag: Andreas Sell

4 七月
A conversation between Anne Fäser and Andreas Sell
on March 13th 2009 at Studio Andreas Sell, Berlin

Standstill – Flick Collection Berlin 1, 2009, Flick Collection in the Hamburger Bahnhof, Berlin, Performance, ca. 2 hours

The Performance was not in prior consultation with the management of the exhibition.

AF:
In your artistic works, people who perform actions become part of the piece. Their action is
the artwork. You either execute your concepts yourself – for example, you stand motionless
for hours – or you give instructions for actions to others. Your works take place in both
exhibition spaces and public venues. But the intervention you make is principally very
minimal, often barely visible, and can scarcely be differentiated from actions that occur
everyday or exist in another context.
I find that emptiness – or blank spaces – are a striking feature of your work. Your works are
situated at the limits of the perceptible. The artistic project remains concealed to many.
Dealing with your works, I found myself thinking of some artists who react to the
representation of reality with skepticism and strategies of refusal and therefore empty the
image – they deal with what is not visible. Can you identify with this kind of idea of
“emptiness” as an attempt to show what cannot be depicted?
AS:
In the beginning, I worked with pictures without thinking much about it, and after a while
came to the point where I noticed that the image had nothing to do with the action. I stopped
documenting my work. In the end, there was nothing left. The action happened and, due to
its being ephemeral and difficult to grasp, was scarcely perceived by others. I, too, didn’t
know how to assess it. I have only vague memories left of many of the actions I staged. So
there was hardly anything left to reflect on. That made it very difficult for me to continue
working. I decided to start using media like photography, video, sound or text again, in order
to leave behind some traces that I could think about. My first step away from a total absence
of imagery involved instructions for actions on audio CDs – instructions for eating a piece of
toast, for example. I tried to make them as exact as possible. Every step, from lifting the
hand to the last swallow, was structured. Most of the people who listened weren’t interested
in eating a piece of toast in that way. The set of instructions was experienced as a sound
piece, an artwork in and of itself, and gained a new, different significance. But my primary
interest is in the uniqueness of the action, because pictures or even words don’t come even
close to conveying what actions can convey.
A planned action takes place at a certain place and for a certain length of time. It deals with
an idea that in turn touches on an experience with the space, the place where it happens. It’s
possible at an abstract level to create an image of what occurs during the process of an
action, perhaps in order to convey an idea of it and initiate communication about it. However,
the experience or the actual event quality of the action stays hidden in an invisible gap.
AF:
Maybe your works could also be described as event-images whose discourse centers more
on the idea of an action. I’d like to think more about “emptiness” in that connection.
Ultimately, you work with social actions as your canvas – eating a piece of toast, playing ball
or standing in an exhibition. By altering these forms of action, making them works of art, you
facilitate a moment of abstraction and reflection. Through the precise observation of an
action, one can become aware at another level of what one does and with what
consequences. Would it be going too far to say that, by means of a tiny action or by
abstracting for a brief moment, one can consciously become aware that these actions exist?
AS:
You can have physical, existential experiences. As far as I can see, these experiences do
not depend on reason. Eating a piece of toast is probably the kind of action that seldom
leads to an existential experience. When this action is stretched out for 18:08 minutes and
each movement is choreographed, it becomes a feat. Initially it’s difficult to follow the
instructions because the action is usually automatic. After a few bites, you adapt to the
rhythm, accept it, and no longer have to put any effort into following the instructions. You
gain the freedom to experience, say, something about the way you salivate. Possibly the
idea of the blank space can in that sense also be considered an invitation to pay attention to
things that exist, but are usually not at the forefront of awareness.
I imitate situations or make small interventions at certain places in order to get another idea
of the way we usually perceive the usual structures. There are many different kinds of
normality, I take part in them and change them a little.
AF:
By standing still in an exhibition space, for instance, you disrupt the usual way of looking at
pictures. In a space set aside for art, the process of looking is connected with a certain kind
of ritualization that has a particular structure, a particular rhythm, a particular speed. With you
and your action of standing still, something in the role of the viewer gets confused. You turn
into an “in-between person”: a viewer-artwork.
AS:
Undefined. The work is so minimal that it can be everything or nothing.

30 days to rehearse, no previous musical knowledge, 11 melodies

The Huqin-Player was sent from Beijing to Berlin to present what she had studied.

AF:
Yes, you’re a protagonist who can be both: subject or object. You become an object in that
you refuse the usual subjective role of looking at pictures in the exhibition, for instance.
As I see it, you also disrupt viewers’ expectations of the exhibition space and their own
behavior when looking at art, and confront them with themselves. Another way of enteringinto-
relationship arises between artwork and observer. The artistic work in question here is
again a subject, but one that appears immobile and as such like an object – it seems to
define another reality in space and time.
AS:
It’s not clear what role I play as an artwork in an exhibition setting. An observer doesn’t know
whether or not this artwork will move. I suspect that standing still in an exhibition brings me
so close emotionally to the viewer that my motionlessness suggests a kind of absence. The
observer can get unusually close to a strange person, yet s/he knows that I’m a human being
and will start to move again. The possibility that this movement could happen at any moment
generates tension between the observer and the observed.
AF:
Yes, and this tension is augmented by irritations, impressions and associations, but their
traces can’t be depicted – their modes of expression usually remain gaps.
In your artistic work, you treat various roles in an artistic context. As an exhibition attendant,
you were paid by the institution to accomplish that task. Without its knowledge, it
remunerated you for something completely different, since you described yourself in your
function of attendant as an artwork.
AS:
Yes, from my point of view, the institution paid me as an artwork without knowing that it
possessed an additional artwork.
AF:
By doing this, you take an analytic look not only at the coordinates of an artwork – the terms
and conditions of art, the context of artistic activity – but also at the value or the valuation of
art and achievement. By positioning the gallery attendant as a work of art, you redefined a
crucial position within the institution through which it legitimates mechanisms of inclusion and
exclusion. But you stayed within the existing structure and used your own position of power
as an artist to alter something within the art context. To what extent do you see yourself as a
participant in the power negotiations within the art field?
AS:
I would like to use what I find there as an impetus for my work. I stay in the structure and
think about how to evaluate the different positions. Maybe one can give the artwork a new
position that way.
AF:
So it’s about negotiating and altering the work of art. There are various protagonists in the
exhibition space and there is the non-visible – the level of interpretations and emotions, for
example. Art is not just the object, it’s the whole framework. Is that what you mean?
An old  man wrote down his curriculum vitae, which was audio taped and played during the exhibition at the Kunstverein Schwerin. As often the old man was able to he sat next to the speakers in the show room and listened to the audio recording.
AS:
Absolutely.
I find it necessary to contemplate the whole framework to find new inspiration and be able to
participate in what’s going on.
AF:
Who adapts to whom in the process – the art to the institution or vice versa? The Exhibition
Attendant piece is a resistant work. It is a subtle stance of refusal. The work takes liberties
and alters positions within an institutionally established structure.
In other works, you are the one who determines the roles or the framework within which the
roles occur. You pay people to carry out a specific action at a predetermined place, one they
normally wouldn’t be paid for. For the work Eine Reise durch die Kunstgeschichte [A Journey
through the History of Art] you hired extras to look at artworks in five national museums in
Berlin. You designated the very act of viewing art as an artwork. Another time, you paid a
mother and her daughter to allow themselves to be exhibited in a gallery, with their curricula
vitae, as living sculpture. What significance does the payment have in this context? What
would you like to convey to the participants via this artistic approach?
AS:
The person who carries out my artwork is moved by a motivating impulse (e.g. money, love
or friendship) to become part of the artwork for a certain period of time as the exhibited
subject. By stating the reason why a person allows him/herself to be exhibited as part of the
piece, I lend the work its social context. In so doing, I would like to open up the spectrum in
which art happens. The gallery visitor is directly confronted with a social relationship that s/he
is a part of, namely what work for pay means to the mother and daughter I exhibited. You get
information not only about my relationship to the exhibited person, but also about the
significance of the art venue and the position of the artist in society.

27 五月

Andreas Sell

Katja Loher

Yam Lau

Ma Yongfeng

Michael Yuen


26 五月

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Organized by Come & Go Art Center,

Beijing Modern Dance Company

China Oriental Foundation for Art

Curated by Ma Yongfeng

Artists: Katja Loher, Michael Yuen, Ma Yongfeng, Andreas Sell, Yam Lau

Date: 7pm-11pm,August 15-16

Venue: No.46,Fangjiahutong,Dongcheng District,Beijing

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Foreword


By Ma Yongfeng

……

Polish director Jerzy Grotowski reduce the medium such as forms and element in drama, and first introduce the word ‘Poor Theater’ into the culture terms of 1960s. Today, what has been left to do in the theater after theater?

Perhaps the purest theater only exists in ‘Found Situation’, which merges forms into forms, concepts into concepts, things into things, situation into situation, and eventually merges lives into lives.

‘Guerrilla’ emphasizes the process. During the process, time and memory interlaces to look for the next location and control everything to unfold in medium.

From minimal electronic intervention to animation hypnotism, from space hallucinogen to game theater, to the expansion of an existed situation, 5 new media artists take five different ‘guerilla strategy’

……

Aug 8,2009


Artist Bio


Andreas Sell

Andreas Sell was born in 1977 in Bayreuth/Germany. Currently he´s living in Berlin and Beijing. Before he started studying fine arts, he absolved a four years actor´s training at the Studiobühne Bayreuth and a three years apprenticeship as stonemason/stonesculptor. 2008 he graduated from the School of Art and Design Berlin Weißensee with the major sculpture. In 2006 he received an annual scholarship from the German Academic Exchange Service (DAAD) to continue his studies in the MFA program in New Forms at Pratt Institute NYC.

By developing subversive action plans he intervened in different exhibition contexts, amongst others in Berlin at the Hamburger Bahnhof, the Old Museum, Bodemuseum, Pergamonmuseum, the Old National Gallery and during the 5th Berlin Biennale at KW Institute for Contemporary Art. 2008 he received the Mart Stam Award for most promising young artists of the School of Art and Design Berlin Weißensee. 2009 he received a postgraduate scholarship from the German Academic Exchange Service to continue his artistic work in the People´s Republic China.

http://www.andreassell.com/

……

Katja Loher

Working in several different mediums and with a number of collaborators from around the world, New York-based, Swiss artist Katja Loher’s explorations of language and visual form come together in an assemblage of present technologies and dramatic sculptures. Translating, in poetic metaphor, the “ambivalent relationships between power, freedom and dependency,” she creates a powerful visual platform that pulls the viewer out of his current perspective and provides a broader perspective with which to address existential questions and present concerns in the world.

A multi-awarded artist, Katja’s video sculptures and installations have appeared at international galleries and institutions. In 2004,Katja Loher was the recipient of the TPC CreaTVty Award from the Swiss TV Production Center. In the last years she received several artist in residences, awards and grants including 6-month artist residencies in Berlin and New York.

http://www.katjaloher.com

……

Michael Yuen

Michael Yuen’s work encompasses a plurality of media. He is known for a body of works making use of light, sound and performance. Over the past years Michael has divided his time equally between Australia and China, and in both environments his works have investigated the city and public space through events and interventions. His work is often temporary and situated outside engaging directly with the city and is frequently associated with interdisciplinary, public space and media practices.

Michael has worked with Zendai Museum of Modern Art (Shanghai), Australian Centre for the Moving Image (Melbourne) jointly with the Hayward Gallery (London), Adelaide International Festival of Arts, SSamzie Space (Seoul), Yuanfen New Media Art (Beijing), received Ruby Litchfield and AsiaLink awards. He has served on the InterArts board for the Australia Council of the Arts (2006/7). Michael divides his time between his native Adelaide and Beijing.

http://www.michaelyuen.com.au/

……

Yam Lau

Yam Lau was born in Hong Kong and is currently based in Toronto, Canada. He received his Master of Fine Arts in painting from the University of Alberta. His creative work explores new expressions and qualities of space, time and image. His most recent works combine video and computer-generated animation to re-create familiar spaces and activities in varied dimensionalities and perspectives. Also, Lau publishes regularly on art and design and is active in the local art community. Certain aspects of his art practice, such as using his car as an on-going mobile project space, are designed to solicit community participation.

Lau has exhibited widely across Canada, United States and Europe. He is a recipient of numerous awards from the arts councils in Canada. Currently Lau is a Professor of painting at York University, Toronto. In addition to his teaching and research, Lau also serves on the board and advisory committee on two public galleries. His work is represented by Leo Kamen Gallery in Toronto and Yuanfen New Media Art Space in Beijing.

http://www.yuanfenart.com/index.php?option=com_content&view=article&catid=53:artists&id=88&Itemid=102〈=en

……

Ma Yongfeng

Ma Yongfeng was born in Shanxi, China in 1971 and is a new media artist currently based in Beijing. He has exhibited widely across Europe, the United States and China – most recently in Chinese Video Now at P.S.1, New York, Becoming Landscape at Platform China, Beijing, and The Cretaceous Period at ArtSway, UK. He was selected for the Production Residency Scheme by ArtSway and Chinese Art Centre in UK from an exceptional shortlist of artists nominated by Chinese curators and professionals in 2007.

Ma came to international attention in 2002 with The Swirl, a video depicting six Koi carp being subjected to a 15 minute wash cycle in an upright washing machine. The piece was exhibited at MOCA at Los Angeles and PS1 in New York. Ma has continued to explore additional alternative realities between order and disorder in many of his video, animation, photography and installations.

http://www.mayongfeng.com/

……

游击剧场

现场的媒体干预

……

主办:聚敞现代艺术中心 北京现代舞团 华亚艺术基金会

策划:马永峰

艺术家:Katja Loher, Michael Yuen, 马永峰, Andreas Sell, 刘任钧

时间:2009年8月15日-16日晚上7点-11点

地点:东城区方家胡同46号

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前言


马永峰

……

波兰导演葛罗托斯基把戏剧表演中作为媒介的各种形式和元素删减到最低限度,并将“贫穷剧场”一词首次引入20世纪60年代的文化语境之中。今天在剧场之后的剧场,我们还能做些什么?

或许最纯粹的剧场只存在于“现成的情境”(Found Situation)中,就是让形式淹没在形式中,让观念淹没在观念中,让事物淹没在事物之中,让情境淹没在情境之中,最后让生活淹没在生活中。

“游击”只是强调一种过程,在过程中时间和记忆相互交错,位置在寻找下一个位置,并让一切事物有限度的在媒介中展开。

从极限电子干预到动画催眠,从空间致幻剂到游戏剧场,直至既有情境的扩展,五个新媒体艺术家,五种不同的“游击”策略。

……

2009年8月8日

……

艺术家简介


Andreas Sell

Andreas Sell 于1977年生于德国的Bayreuth, 于2008年毕业于柏林的Weißensee艺术和设计学院的雕塑专业。 在2006年他受到了德国学术交流服务机构(DAAD)的年度奖学金,以此他在纽约Pratt学院的新形式系继续他的硕士学习。

他在不同的展览上混入参观人群,进行有策略的表演,来对展览原来的含义进行了干扰。在2008年他被授予柏林Weißensee艺术设计学院Mart Stam奖项的最有前途的年青艺术家。在2009年,他得到了柏林学术交流服务机构的硕士奖学金并前往中国继续他的艺术工作。

……

Katja Loher

Katja Loher 作品使用不同的媒介,并且和相当多的纽约,瑞士艺术家合作过。 Katja Loher将她对语言和视觉形式的探索,以一种对当前的科技和戏剧化的雕塑装配表现出来。 用诗意隐喻角度来翻译这句著名的‘对于权利,自由和独立之间的内心自相矛盾的关系’,她创造了一个有力的视觉平台  把观众拉出了一般流行的解释,以针对存在的问题和当前的世界关注的角度,提供了一个更广阔的视角来诠释。

作为一个得到多次奖项的艺术家,Katja的录像,雕塑和装置一直在国际上的画廊和机构里出现。 2004年,Katja是瑞士电视制片中心的TPC CreatVty奖的获得者。在过去的几年里,她先后得到了多次的艺术家驻留的机会,奖项和基金,其中包括在北京和纽约的6个月的驻留交流项目。

……

Michael Yuen

Michael Yuen的作品围绕着媒体的多重性展开。 他以一系列以对光,声,和表演的使用而出名。在过去的几年里, Michael一直工作在澳大利亚和中国。在这两地,他的作品通过考察事件和干预来研究城市和公共空间。Michael的作品通常是暂时的, 并且在城市里的户外完成。 作品通常跨越多学科,公共空间和媒体实践。

Michael曾经合作于上海证大现代艺术馆,澳大利亚移动影像中心联合伦敦黑瓦德画廊,阿德莱德国际艺术节,韩国首尔Ssamzie空间, 北京缘分新媒体艺术,得到了路比里其菲尔德和亚洲连接的奖项。 他在2006到2007年其间在澳大利亚文化协会供职。 Michael在他的家乡阿德莱德和北京两地工作。

……

Yam Lau  刘任钧

刘任钧出生在香港,现居住在加拿大多伦多城市。 他得到了阿尔伯塔大学的美术硕士学位。 刘任钧的作品探索全新的时间、空间以及影像表达方式与特性。 把视频 和计算机生产的特效(CGI) 综合起来重新表现我们现实生活中的实际场景,但现实该实际场景的同时利用别致的,虚拟世界的眼光。除此之外,他也为艺术类杂志撰写文稿,并在艺术交流组织上非常活跃。刘任钧在艺术上面的一些实践,比如用他自己的私人轿车作为移动小型创作项目空间等,给社区和群众带来了一个交流和参与的机会。
刘任钧很广泛的在加拿大,美国,欧洲各个地方展览他的作品,被加拿大艺术界获许了众多奖项。现在Yam是多伦多约克大学的绘画教授。除教学之外,他还为两个画廊做委员会咨询,他的艺术作品仅授权给多伦多Leo Kamen画廊和北京缘分新媒体艺术空间。

……

Ma Yong Feng 马永峰

1971年出生于中国山西,目前是基于北京的媒体艺术家。 他的作品在欧洲、美国和中国等地广泛展出。最近的展览有“中国录像艺术”(P.S.1 纽约),“生成景观”个展(站台中国,北京)以及“白垩纪”个展(ArtSway艺术中心,英国)。2007年他获得国内外著名策展人和艺术专业人士的提名,之后被选择参与ArtSway和英国华人艺术中心所合作的“制作”驻留项目。

从2002年的视频作品“旋涡”起,马永峰开始获得国际当代艺术界的广泛关注。 录像“旋涡”描述了6条金鱼在洗衣机内经历15分钟左右的冲洗。这个作品曾经展于洛杉矶当代艺术博物馆(MOCA)和纽约的P.S.1。 马永峰在作品中继续探索在秩序和混乱之间的多种不同的现实,这在他最近的录像,动画,摄影和装置作品中都有展现。


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