Tina – A group show at Spike Berlin

Sarah Staton
/SupaStore, /2015
© Linda Fuchs

Sarah Staton
SupaStore, 2015
© Linda Fuchs

Sarah Staton
with Simon Bill
/Mr Blobby/, 1994
Detail from /SupaStore/, 2015
© Linda Fuchs

Sarah Staton
with Simon Bill
Mr Blobby, 1994
Detail from SupaStore, 2015
© Linda Fuchs

Installation view
© Linda Fuchs

Installation view
© Linda Fuchs

View from outside
© Linda Fuchs

View from outside
© Linda Fuchs

Mitchell Syrop
/Watch It, Think It, /1977
16-mm film transferred to video
© Linda Fuchs

Mitchell Syrop
Watch It, Think It, 1977
16-mm film transferred to video
© Linda Fuchs

Mitchell Syrop
/Watch It, Think It, /1977
16-mm film transferred to video
© Linda Fuchs

Mitchell Syrop
Watch It, Think It, 1977
16-mm film transferred to video
© Linda Fuchs

Juliette Blightman
/Lacan, girl (The World is full without you, 2011) /(Detail), 2000/2015
Video, TV, DVD player, side table, lamp, buttermilk
Courtesy of the artist and Isabella Bortolozzi Galerie
© Linda Fuchs

Juliette Blightman
Lacan, girl (The World is full without you, 2011) (Detail), 2000/2015
Video, TV, DVD player, side table, lamp, buttermilk
Courtesy of the artist and Isabella Bortolozzi Galerie
© Linda Fuchs

Stano Filko, /8SF/
Plastic bags, paper, nylon
Courtesy of the J.F.Keller Collection, Mulhouse
© Linda Fuchs

Stano Filko, 8SF
Plastic bags, paper, nylon
Courtesy of the J.F.Keller Collection, Mulhouse
© Linda Fuchs

Manfred Erjautz
S/helter (Under the skin)/ 2007/2008
Patches
© Linda Fuchs

Manfred Erjautz
Shelter (Under the skin) 2007/2008
Patches
© Linda Fuchs

Juliette Blightman
/Lacan, girl (The World is full without you, 2011) /(Detail), 2000/2015
Video, TV, DVD player, side table, lamp, buttermilk
Courtesy of the artist and Isabella Bortolozzi Galerie
© Linda Fuchs

Juliette Blightman
Lacan, girl (The World is full without you, 2011) (Detail), 2000/2015
Video, TV, DVD player, side table, lamp, buttermilk
Courtesy of the artist and Isabella Bortolozzi Galerie
© Linda Fuchs

Bonny Poon
/Untitled/, 2015
Worms
© Linda Fuchs

Bonny Poon
Untitled, 2015
Worms
© Linda Fuchs

Manfred Erjautz
/Shelter (The trousers), /2007
Mannequin, artist's trousers, face appliqué by Stefanie Erjautz
Courtesy of the artist
© Linda Fuchs

Manfred Erjautz
Shelter (The trousers), 2007
Mannequin, artist's trousers, face appliqué by Stefanie Erjautz
Courtesy of the artist
© Linda Fuchs

Manfred Erjautz
/Shelter (The trousers), /2007
Mannequin, artist's trousers, face appliqué by Stefanie Erjautz 
Courtesy of the artist
© Linda Fuchs

Manfred Erjautz
Shelter (The trousers), 2007
Mannequin, artist's trousers, face appliqué by Stefanie Erjautz 
Courtesy of the artist
© Linda Fuchs

Nobutaka Aozaki
/Chips Painting (Utz Sour Cream and Onion)/, 2015
Enamel on unopened potato chips bag
20 x 28 x 6 cm
Courtesy of the artist
© Linda Fuchs

Nobutaka Aozaki
Chips Painting (Utz Sour Cream and Onion), 2015
Enamel on unopened potato chips bag
20 x 28 x 6 cm
Courtesy of the artist
© Linda Fuchs

Nobutaka Aozaki
/Chips Painting (UTZ RED HOT flavored)/, 2013
Enamel, gesso on unopened potato chips bag
20 x 28 x 6 cm
Courtesy of the artist
 
© Linda Fuchs

Nobutaka Aozaki
Chips Painting (UTZ RED HOT flavored), 2013
Enamel, gesso on unopened potato chips bag
20 x 28 x 6 cm
Courtesy of the artist
 
© Linda Fuchs

Margaret Honda
Excerpt from /Writings by Margaret Honda (Wolf Trap, Fish Trap)/, 2015
A3 inkjet print
Courtesy of the artist
© Linda Fuchs

Margaret Honda
Excerpt from Writings by Margaret Honda (Wolf Trap, Fish Trap), 2015
A3 inkjet print
Courtesy of the artist
© Linda Fuchs

Installation view
© Linda Fuchs

Installation view
© Linda Fuchs

Installation view
© Linda Fuchs

Installation view
© Linda Fuchs

Installation view
© Linda Fuchs

Installation view
© Linda Fuchs

Croco Chanel
/Untitled/, 2015
Gouache on glass
© Linda Fuchs

Croco Chanel
Untitled, 2015
Gouache on glass
© Linda Fuchs

Croco Chanel
/Untitled/, 2015
Gouache on glass
© Linda Fuchs

Croco Chanel
Untitled, 2015
Gouache on glass
© Linda Fuchs

Sarah Staton
SupaStore, 2015
© Linda Fuchs

Sarah Staton
with Simon Bill
Mr Blobby, 1994
Detail from SupaStore, 2015
© Linda Fuchs

Installation view
© Linda Fuchs

View from outside
© Linda Fuchs

Mitchell Syrop
Watch It, Think It, 1977
16-mm film transferred to video
© Linda Fuchs

Mitchell Syrop
Watch It, Think It, 1977
16-mm film transferred to video
© Linda Fuchs

Juliette Blightman
Lacan, girl (The World is full without you, 2011) (Detail), 2000/2015
Video, TV, DVD player, side table, lamp, buttermilk
Courtesy of the artist and Isabella Bortolozzi Galerie
© Linda Fuchs

Stano Filko, 8SF
Plastic bags, paper, nylon
Courtesy of the J.F.Keller Collection, Mulhouse
© Linda Fuchs

Manfred Erjautz
Shelter (Under the skin) 2007/2008
Patches
© Linda Fuchs

Juliette Blightman
Lacan, girl (The World is full without you, 2011) (Detail), 2000/2015
Video, TV, DVD player, side table, lamp, buttermilk
Courtesy of the artist and Isabella Bortolozzi Galerie
© Linda Fuchs

Bonny Poon
Untitled, 2015
Worms
© Linda Fuchs

Manfred Erjautz
Shelter (The trousers), 2007
Mannequin, artist's trousers, face appliqué by Stefanie Erjautz
Courtesy of the artist
© Linda Fuchs

Manfred Erjautz
Shelter (The trousers), 2007
Mannequin, artist's trousers, face appliqué by Stefanie Erjautz 
Courtesy of the artist
© Linda Fuchs

Nobutaka Aozaki
Chips Painting (Utz Sour Cream and Onion), 2015
Enamel on unopened potato chips bag
20 x 28 x 6 cm
Courtesy of the artist
© Linda Fuchs

Nobutaka Aozaki
Chips Painting (UTZ RED HOT flavored), 2013
Enamel, gesso on unopened potato chips bag
20 x 28 x 6 cm
Courtesy of the artist
 
© Linda Fuchs

Margaret Honda
Excerpt from Writings by Margaret Honda (Wolf Trap, Fish Trap), 2015
A3 inkjet print
Courtesy of the artist
© Linda Fuchs

Installation view
© Linda Fuchs

Installation view
© Linda Fuchs

Installation view
© Linda Fuchs

Croco Chanel
Untitled, 2015
Gouache on glass
© Linda Fuchs

Croco Chanel
Untitled, 2015
Gouache on glass
© Linda Fuchs

Tina
“There is no alternative”
17 September – 25 October 2015
Rosa-Luxemburg Strasse 45
Wednesday - Saturday 12am till 6pm
 

Royal dragons – painted like murals on glass doors – are charging against some invisible rival. Seen from the front, they are clearly headed left. Their power and glory echoes the hopelessness of the mantra: “No alternative!” – as it has been uttered in countless speeches by Margaret Thatcher. No alternative to economic liberalism, says the milk snatcher. The only valid remaining ideology. It still is an oblique and gloomy topic. Consumer culture, as it emerged in the eighties, in the wake of the historical defeat of the working classes. Peeking at these occurrences through the smudgy looking glass that is a group exhibition, we ask ourselves: Is this bloated bag of crisps half full or even less? The excess volume, usually pumped with nitrogen, is called “slack fill”. Keeps them crunchy. The crisps, that is. The ongoing mechanization of the reception of culture keeps us equally fresh. The constant feedback is supposed to keep us on our toes. But we find ourselves stuck in the lobby of streamlined thought patterns: Watch it, think it, watch it … Violence seems like the only possible intermittence. Imagine a wounded wolf: “Attracted by the scent of blood but confused over the absence of a carcass, other members of the pack attack each other until they are destroyed.” Or the violence becomes microscopic, brewing like bacteria in the dirt. Like hungry worms that manage to escape, only to realise there is nothing to escape to. So what do we lose when epistemes change? There definitely are closures. But things keep being made in a certain way. Things do die and they don’t live forever. But there is water on Mars. Maybe we’ve just lost the ability to mourn. The historical loops that we are witnessing are important. It is equally important to acknowledge whether they cycle into a continuum or a vicious circle. And when does something simply end? When there is no alternative. But please, let’s refuse. In so many happy returns we do manage to make out actual shapes and figures through the milky glass. The human figure stays relevant with all its potential of distortion and disfigurement. The Internet can kill the land of Tina. There are enough artists’ proposals that deal with the idea of transcription and repetition, not as dogma but as insistence. In order to keep weaving blurry utopias and to not stop believing. Like the student in the front row of Lacan’s lecture performance: She’s not an artist or famous, but she’s in the picture, shy, charming. After all: The world is full without you.

Tina is
a series of potato chip bags by Nobutaka Aozaki,
some live singing by Nils Bech,
a TV on a nightstand and buttermilk by Juliette Blightman,
a diptych on glass by Croco Chanel,
a mannequin and patches by Manfred Erjautz,
a coloured performance and object by Stano Filko,
two pieces of paper by Margaret Honda,
a chair and a spine by Mikołaj Małek,
a composting device by Bonny Poon,
a shop on shelves by Sarah Staton,
and a commercial by Mitchell Syrop.

Organised by Rita Vitorelli and Christian Kobald with Tenzing Barshee.
Text: Tenzing Barshee