atb #07 | Pinxit

Charlotte Cullinan + Jeannine Richards, artlab London – ,PINXIT‘

Opening: June 15 from 7pm, Exhibition: June 16 – July 7, 2007
open Friday and Saturday 3-7pm or by appointment

We hoped we might be able to find something positive to say about this show, and we have.
The more thought we give to PINXIT, by Cullinan+Richards, the more our desire to salvage something of value from their misadventure increases, fueled by familiarity, neat reasoning and formal travesty. In its attempt to engage in highly complex intellectual and eccentric debate PINXITopens up vast chasms between the drab actuality of the objects on show and the arrogant and shaky theoretical assertions knowingly proposed by the artists.
Cullinan+Richards are making an ‘ongoing work concerning an imagined history for these objects’, exploring ‘duplicity, doubling, betrayal and desire PINXITconsists of a script made of neon lights giving off a harsh orange glow reading ‘Et Tu’, five paintings of a male torso, and a film.
The discrepancy between the objects and accompanying assertions seems to be used here as a model for the relationship between the viewer and the artists. Taped to the glass, Neon Window (2007) spells the words ‘Et Tu’, could this refer to the fact that the paintings are actually made by someone else in 1973, and the film made in America in the 1920’s, and thus a betrayal of the viewers trust?
PINXIT exposes Cullinan+Richards as capable of discussing the tragedies of artistic extremism. Perhaps it is this carefully curated combination of a particular situation (a former butchers shop in Berlin now an artists run space) and these objects, which leads me to believe that Cullinan+Richards will definitely amount to something.

Henry Challenger and Daniel Fuchs, London-Berlin, 2007

Cullinan+Richards founded Savage School Window Gallery for text work in 2006, No.7 Vyner Street, London: invited artists include Clunie Reid, Volker Eichelmann, Jeffery Charles Gallery with Henry Peacock, Fillip Magazine, Tom Morton

Solo shows include: The Dummy Project, Stanley Picker Gallery, London, 2007; Headquarters, Daniel Spoerri Foundation, Italy, 2006; Retrospettiva, Pari & Dispari Project, Italy, 2006; Retrospektyva IBID Projects, Vilnius, Lithuania, 2005. Independent Republic, M.O.T. Gallery, London, 2005 Group shows include: Whitstable Biennale, 2006; Leaps of Faith, Cyprus, 2005; Documentary Creations, Kunstmuseum, Luzern Switzerland, 2005; Britannia Works, Athens, 2004; Ambulantes, Museum of Contemporary Art, Seville, 2004; Values, 11thBiennale of Visual Art, Pancevo, Serbia, 2004; Edge of the Real, Whitechapel Gallery, 2004

atb #06 | shadow of yourself

Megan Sullivan, Axel John Wieder

Opening Friday April 27th, from 7pm

Exhibition: April 28 – May 19th, 2007
Open Friday and Saturday 3-7pm or by appointment

“The shadow of a person, or a person’s face, is the weakest, the emptiest but at the same time, if the light was at a fair distance, if the light fell on a flat surface, which was adequately parallel, the truest and most precise image that can be made of a human being; the weakest because it is nothing positive, it is only something negative.”
(Johann Caspar Lavater, cited after Victor Stoichita: “A Short History of the Shadow”)

after the butcher – showroom for contemporary art – is delighted to present SHADOW OF YOURSELF, the first collaboratively developed exhibition and installation of Megan Sullivan and Axel John Wieder.

Since Plinius the shadow is a fundamental model of representation and served, for example in the drawing machines designed by Lavater, for popular image-making. From the shadow a special exactness was expected whereas at the same time it was seen as a copy of a copy, as false life from second hand. In contrast to other images the shadow generally is bound directly to the human body. Often it is the shadow, that reveals, the one who stands round the corner or behind the camera but in front of the light.

SHADOW OF YOURSELF by Megan Sullivan and Axel John Wieder uses the figure of the shadow to reflect the relations between subjectivity and imagery. The installation comprises of drawings, the remake of a silhouette-chair, texts and collages which are lighted in a way that their single elements become shady and layered.

Megan Sullivan was born in Stamford, Connecticut, USA.
Axel John Wieder is co-founder of the thematic bookshop Pro qm and since 2007 director of Künstlerhaus Stuttgart.

atb #05 | As if there’s always free Cheese in the Mousetrap…

Endre Aalrust

Opening Friday March 9, from 7pm

Exhibition: March 10 – April 7, 2007
Open Friday and Saturday 3-7pm or by appointment

after the butcher is pleased to present Norwegian artist, Endre Aalrust, with a solo-show “As if there’s always free cheese in the mousetrap…”. Aalrust will be showing a new video piece, a series of large scale black & white photos, and sculptures made from class-related and symbolically-loaded materials.
In his work, Aalrust focuses on power structures and hierarchies and their influence on human interaction and relations. Working with a certain impurity in both content and form, invoking a mixture of high and low, slapstick and melodrama he investigates the struggle for being in a privileged position or getting the upper hand.

“The term ‘Stockholm syndrome’ was first used by Professor Nils Bejerot to explain the phenomenon of hostages bonding with their captors. In Stockholm, Sweden in 1973, two bank robbers held four people hostages for six days. The Norrmalmstorg Bank robbery received wide publicity because the hostages came to care about their captors and perceive them as protecting them against the police.”
Paul T. P. Wong

Rather than merely examining external sources of power, Aalrust attempts to focus on how repressive structures are imposed and supported through the eager participation of the “victims” themselves: the mechanisms of internalization, the production and reproduction of unjust systems through the common admiration of hierarchies of language and values.

Endre Aalrust (b.1973) studied at the Bergen Academy of Fine Arts in Norway w/Prof. Stephan Dillemuth 1998-2002. Exhibitions and videoscreenings include – “The Fantasy of a Failed Utopia…” National Center of Contemporary Art, Moscow 2007, – “Try again, Fail again. Fail better“, Momentum, Nordic Festival of Contemporary Art, Moss 2006, – “Obscure yourself“, Galerie Pierogi 2000, Leipzig 2005, – “Diversitè: Some things can be taken to the bank” Galleri Signal, 2004 Malmö, – “Jetzt und zehn Jahre davor“, Kunstwerke Berlin, 2004 – “Viper” Kunsthalle Basel, 2004 – “local connection” Künstlerhaus Bethanien 2004, Berlin.

atb #04 | Half Jacket – Half Human

Alice Creischer, Andreas Siekmann and the Brukman labourers

Opening: Friday January 19, 2007, 7pm
Exhibition: January 20 – February 17
open: Friday and Saturday 3 – 7pm or by app.

* Title is borrowed from a song by Annette Wehrmann, Christoph Schäfer and Cathy Skene, Hamburg 1988

Alice Creischer: for “Mrs. Rohaya” (draft)

after the butcher – showroom for contemporary art – is pleased to present &Mac226;Half Jacket – Half Human’ an exhibition with Berlin based artists Alice Creischer and Andreas Siekmann. The show comprises drawings and in particular ten suits which were developed by the artists in collaboration with labourers of Brukam an occupied textile mill in Buenos Aires.
Creischer and Siekmann do their work both separately and collaboratively. Developing radical critique on the structures of power and domination their projects mostly deal with political and social questions of our everyday-life. They question us and themselves to what extend the search for alternative living and working conditions may deliver solutions of the conflicts and contradictions.
Creischer and Siekmann are doing this not only as artists but as curators, too. They organized group shows like “Violence is at the Margin of All Things”, Generali Foundation, Vienna in 2002 and „ExArgentina“, Museum Ludwig, Cologn in 2003.
Alice Creischer was awarded with the Edward Munch-Prize in Oslo, 2006. Andreas Siekman will participate at Sculpture-Projects Munster – both will participate at Documenta XII in Kassel.

Saturday, February 3, from 7pm: short animation films and discussion

As part of the exhibition &Mac226;Half Jacket – Half Human’ after the butcher is showing five animation films by Alice Creischer und Andreas Siekmann. They are part of a ‘science fiction’ of a labour liberated society. Afterwards the artists, together with Christian von Borries will present their plan for a musical (opera) for a “labour liberated society” to be staged in a shopping mall in Kassel. There will be the opportunity to discuss. („Opera“ and „labour liberated“ are temporary and to the artists quite uncanny terms.)

The below text is not available in English yet.

Alice Creischer und Andreas Siekmann über ihre Arbeit „Half Jacket – Half Human:

„Im Dezember 2002 wurde die Kleiderfabrik Brukman in Buenos Aires von den Arbeiterinnen besetzt und wird seitdem von ihnen in Eigenregie weitergeführt. Diese Besetzung ist kein Einzelfall, sondern Teil einer Bewegung von Fabrikbesetzungen und neuen Experimenten von Selbstregierung, die vor und nach der ökonomischen und politischen Krise in Argentinien im Dezember 2001 stattfinden. Im Rahmen unseres Projektes ExArgentina haben wir zusammen mit den Arbeiterinnen von Brukman zehn Anzüge hergestellt. Sie sind geteilt; ihre Hälften erzählen zwei parallele Geschichten über die Symmetrie von Krise: die Besetzung der Fabrik und die Communiques auf dem G8 Gipfel, der 1999 im Museum Ludwig in Köln stattfand, als der argentinische Präsident Menem noch der Lieblingsschüler der neoliberalen Weltfunktionäre war. Ein Teil der Anzüge wurde 2003 in der Ausstellung: „ExArgentina – Schritte zur Flucht von der Arbeit zum Tun“ im Museum Ludwig in Köln gezeigt. ExArgentina war ein Projekt, in dem Künstler aus Argentinien und Europa über die argentinische Krise als Modellfall für die Auswirkungen der internationalen Wirtschaftspolitik und ihrer neoliberalen Ideologie arbeiteten.
Man kann sagen, dass „Brukman“ eher von den Unternehmern verlassen als von den Arbeitern besetzt wurde. Man kann auch sagen, dass die Kapitalflucht eher ein Merkmal der Flexibilität von Investment ist, als das von Krisen, wenn Krisen Ausnahmen bezeichnen. Die politische Verständigung der Gipfel ist eher eine Ermöglichung als eine Intervention in diese Krisenhaftigkeit, die keine ist.
Aber die Flucht des Kapitals produziert nicht nur Opfer, sondern sie hat eine Symmetrie in dem Verlassen seiner Ordnung, seiner Versprechen und seines common sense. In ihrem langen Kampf gegen die Polizei, wurde „Brukman“ ein Symbol für diese Flucht von der Arbeit zu einem anderen sozialen Tun.
2005 wurde ExArgentina in Buenos Aires gezeigt. Allerdings war es nicht mehr dieselbe Ausstellung, wie vor zwei Jahren, u.a. weil es einen politischen Prozess gab, den man Normalisierung nennen kann und der für Europa und Südamerika gleichermaßen gilt. Diese Normalisierung betraf auch Brukman.
Es gibt verschiedene Methoden von „Normalisierung“. Eine ist die Kriminalisierung der Bewegungen. Eine andere heißt Vereinnahmung. Sie ist schwieriger zu schildern, weil Vereinnahmung nie so total ist, wie sie gerne wäre, und weil man dazu neigt, etwas schnell als „vereinnahmt“ abzuhaken und nicht merkt, wie sehr man selbst in diesem Urteil etwas „normalisiert“. Für die Ausstellung in Buenos Aires, die “La Normalidad” hieß, sind zwei neue Anzüge entstanden. Sie sind wieder in zwei Hälften geteilt. Die einen Hälften erzählen von dem Boykott von chinesischen Textilwaren in Europa und von einem Streik, der 2005 in der indonesischen Kleiderfabrik Katexindo Citra Mandiri stattfand. Die beiden anderen Hälften erzählen die Geschichte der Fabrik Brukman weiter und schildern einen Konflikt: Durch die Vermittlung des Anwalts Luis Caro wird der Betrieb und seine Produktion von der Stadt geduldet. Dieser Status der „Duldung“ ist ein vollkommen ungesicherter und kann sich daher jederzeit in eine Drohung verwandeln, die für die Arbeiterinnen politische Aussagen erschwert und Aktivitäten erstickt. Möglicherweise gibt es auch eine Form der Erschöpfung, die von einigen Funktionären ausgenutzt wird, um die „Ordnung“ – die Unberührbarkeit und Trennung zwischen Politik und Arbeit – wieder einzurichten. Viele Arbeiterinnen haben diesmal der Umsetzung unserer Entwürfe nur zögernd zugestimmt. Umso mehr schätzen wir den Mut derjenigen, die dies trotz Drohung mit Repressionen getan und unsere Kooperation auch initiiert haben.
Für uns selbst als EU-Mitglieder hat sich in dieser Zusammenarbeit wenig die Frage gestellt, ob wir in dem Gefälle unserer Privilegien die Arbeiterinnen ausnutzen und eine weitere Authentik im Kunstbereich ausspielen. Zu sehr überzeugte uns die Gelegenheit, dass es wichtig ist, eine Bewegung zu würdigen. Uns scheinen in Europa solche Formen von Kooperation blockiert zu sein, möglicherweise, weil die gegenseitigen Ressentiments in ihrem Anspruch auf Wahrheit und Coolness eine mögliche Solidarität verdrängen. Vielleicht sind diese Ressentiments auch leerlaufende Gebetstrommeln, weil sie sich auf keine soziale Realität sondern nur noch auf historische Klischees beziehen – ohne eigene Erfahrung. Deswegen möchten wir die Anzüge hier zeigen.“

atb #03 | A Dream Away From The Bad Dream

New Paintings by Jeremy Glogan

25th November – 30th December 2006
Private View 24th November 7pm
Open Friday and Saturday 3-7pm or by appointment

Jeremy Glogan: Garden, 2006, 51 x 41 cm, oil on linen


These paintings might depict scenes, firmly rooted in the familiar, in which a solitary woman poses.

It might appear to be a similar woman each time.

They might have been painted in rather a precise manner.

They might look a little cinematic.

Perhaps there is a literal quality at play in the style of representation.

It is possible that they took quite a long time to do.

Perhaps with some small brushes.

They might seem rather enigmatic.

The settings might appear to be ‘at home’.

It is conceivable that they are never what they might seem.

Perhaps they were inevitable.

after the butcher is pleased to present Jeremy Glogan’s first solo exhibition in Germany. Glogan was born in London in 1967. He studied at Camberwell School of Art and Crafts. Recent shows include ‘Jewels in Art’ with Josephine Pryde, Sarah Staton and Merlin Carpenter, Galerie Bleich-Rossi Graz 2001; ‘GLOGAN’, Gallery McGillivray London 2002; ‘When in Doubt Blame The Victim’ with Merlin Carpenter, Galerie Bleich-Rossi Graz 2003; ‘The Hydrogenation and Trans Fatty Acid Time Bomb’, McAllister Institute New York 2003 and most recently ‘Rudolf?’, Galerie Bleich-Rossi Vienna in 2005. Since 1997 he has run The Top Room in London overseeing exhibitions by Michael Krebber, Mel Bochner and Nils Norman amongst others. In 2007 he will be showing at The Tate Gallery, St Ives in the exhibition ‘Brian Wilson An Art Exhibition’.

atb #02 | Trojanische Standortomi

cordially invites you and your friends to the opening of the exhibition:

Trojanische Standortomi
– Da wo oben ist –

Friday October, 13 2006, 7pm

The oracle is an alternative method of questioning
The oracle uses thoughts and assertions, deconstructs them to
compose them again in a new way.
The oracle can be read differently.
Some say the oracle makes things more clear, others say it makes
them more complicated.
The oracle is not an exhibition and not a performance.
The oracle is an inhibition and a deformance.
1 + 3 + 1 + 0 + 2 + 0 + 0 + 6 = 13

Additionally will be served:

gateau d’elite
BDI potato fritters

caviar reception

this time with: Sarah Schönfeld, Kaj Osteroth, Norbert Witzgall,
Ute Waldhausen, Johannes Raether, Jan Molzberger,
Christoph Ziegler, Felix Meyer, Philip Wiegard, Johannes Cullen,
Sophie Trenka-Dalton, Kathrin Sonntag, Jakob Scheible

Exhibition 14/10. untill 4/11/ 2006
open Friday 3-7pm, Saturday 1-5pm
or by appointment

Further exhibitions 2006:

November/December: Jeremy Glogan, London

atb #01 | Inaugural Show

Concrete, Sausage and other Team Ghosts

Opening: May 27, 2006 6-9pm – from 10pm livemusic and party

Exhibition: May 28 – July 9, 2006
open: Friday 3-7 pm, Saturday 1-5 pm or by appointment


Endre Aalrust, Mohamed Abdullah, Björn Achilles, Gabriela Albergaria, Heather Allen, Markus Ambach, Oreet Ashery, Stefan Beck, Oliver Belling, Lucie Beppler, Bernadette Corporation, Wolfgang Betke, Michael Beutler, Christoph Blum, Henning Bohl, Karsten Bott, Axel Brandt, Lutz Braun, Frank Bubenzer, Ellen Cantor, Kerstin Cmelka, Copenhagen Free University, Stephanie Dedes, Heide Deigert, Emmanuel Depoorter, Stephan Dillemuth, Meike Dölp, Michael Dreher, Nicolaj Dudek, e. Twin Gabriel, Lukas Einsele, Thomas Erdelmeier, Annika Eriksson, Andreas Exner, Katja Eydel, Martin Feldbauer, Jochen Flinzer, Parastou Forouhar, Axel Gerber, April Gertler, Jeremy Glogan, Undine Goldberg, Natalie Grenzhaeuser, Stefan Gugerel, Alex Hamilton, Eva Haule, Hector Hazard, Axel Honer, Michael Kalmbach, Anne Kaminsky, Katharina Karrenberg, Annette Kierulf, Thomas Kilpper, Gisela Kleinlein, Barbara Klinker, Franziska Kneidl, Nuri Koerfer, Caroline Krause, Merle Krause, Dirk Krecker, Achim Lengerer, Janne Lervik, Britta Lumer, Ole Martin Lund Bø, Pili Madariaga, Lee Maelzer, Stefan Mannel, Minka Maslowski, Corinna Mayer, John McLeod, Eva-Christina Meier, Isa Melsheimer, Daniel Milohnic, Dan Mitchell, Tina Morhardt, Ariane Müller, Martin Neumaier, Paul Noble, Dogan Özdogan, Julia Oschatz, Dirk Paschke, Hans Petri, Jeannette Petri, Pfelder, Laure Prouvost, Josephine Pryde, Bianca Rampas, Barak Reiser, Jens Risch, Tomas Saraceno, Giovanna Sarti, Edwin Schäfer, Martin Schmidl, Manfred Schneider, Bernhard Schreiner, Thomas Schroeren, Christoph Schuller, Nora Schultz, Thomas Seidemann, Bettina Sellmann, Ernst Stark, Sarah Staton, Tal Sterngast, Josef Strau, Joulia Strauss, Astrid Stricker, Megan Sullivan, Susa Templin, Micki Tschur, Mathias Völcker, Silke Wagner, Klaus Weber, Suse Weber, Axel Wieder, Klaus Winichner, Susanne Winterling, Alexander Wolff, Simone Zaugg, Günter Zehetner, Florian Zeyfang

For the inaugural show we invited many friends and artists we personally know. Its title Concrete, Sausage and other Team Ghosts refers to two aspects – the history of the house and the football world championship (the official football of these championships is called “Teamgeist”).

Invitationcard (Drawing: Janne Lervik)

Further exhibitions 2006:

September/October: with Students of the “Freie Klasse” (free class) Universität der Künste Berlin

November/December: Jeremy Glogan, London

Ausstellungsraum für zeitgenössische Kunst und soziale Fragen