2018

  • Prize

    <p>Trophies 2018 by Zuzanna Czebatul</p>

    Trophies 2018 by Zuzanna Czebatul

    An anniversary — in 2018 the Berlin Art Prize celebrated its fifth year. The exhibition with all of the nominees took place in Kreuzberg from August 31 to September 28, 2018. Berlin-based artist Zuzanna Czebatul created the trophies for the three winners as a reference to the “most popular ice cream colors of the 1960s” and a wink at the phallocentricity of the commercial art world. On September 28, during a public ceremony at midnight, the trophies were awarded to the three winners. In addition to the trophy and prize money, the winners are invited to a four-week residency in Marrakech, organized in collaboration with Queens Collective. The fifth edition of the Berlin Art Prize was generously supported by the Hauptstadtkulturfonds.

  • Jury

    Pauline Doutreluingne
    (curator)
    Övül Ö. Durmușoǧlu
    (curator, writer)
    Philipp Ekardt
    (theorist, critic)
    Michaela Melián
    (artist, musician)
    Johannes Paul Raether
    (artist)

  • Winners

    Monika Grabuschnigg

    Monika Grabuschnigg’s works assert themselves as confidently in a direct encounter in space as on the screens on which digital images circulate. In fleshy pink, with traces of manual production, her stele-like works, reminiscent of surrealist inventory, are bodies and signs in the digital/analog world: here, matter does not become the pretext for a plump rhetoric of “resistance,” allegedly eluding digitalization or digital mediation, but makes the plunge onto the screen with aplomb. Seen in close-up, the colors change again: candy-like, glossy. A multitude of lipsticked mouths spit foam, which the ceramic pump “organism” swallows in order to pump it back to the mouths again. A classical fountain thus becomes an object that illustrates the possibilities and visibilities of sculpture in our digital/analog world: from the foam structure that constantly rebuilds itself to the circulating liquids and the fleshy/flashy mouths. From the gallery to the smartphone and back. – jury statement

    Alanna Lynch

    Alanna Lynch’s research work delves bravely and deeply into socially uncomfortable topics. By working with her own urine and hair as the very core of the human essence, she conveys urgent deconstructions of race and gender. Lynch’s long-term archive looks at internalized hierarchies through a multi-species perspective. Her work confronts us with our own human taboos by actively engaging us in smelling and touching what we typically turn away from. By compelling visitors to encounter themselves and each other through something as natural as the hair we all shed, she also manifests an exploration of difference and sameness. Upon consideration of the discussions that took place as a result of this engaging work, the depth of research by the artist, as well as its experimental framework, the jury chose Alanna Lynch’s installation as a standout work within the exhibition. – jury statement

     

    Doireann O’Malley

    “Our weapons of magic are made within our bodies and they show themselves when among the alien gods we are.” A saying created on the spot, inspired by Navajo battleground protection songs and O’Malley’s challenging film. The work is bright, strangely reserved, and fragile at the same time—and it manages to speak on these weapons of magic made inside our bodies that contain future. Is it possible to speak about these bodies, our bodies, without calcifying gender issues as cultural capital? Gender fluidity continues to challenge the modernist utopia of the future, no matter if it’s in what’s called the past or what’s called the future. In this work, Doireann O’Malley reveals her desire to be a superb storyteller with difficult content. That she is open to risk and challenging herself as an artist. She cares deeply about the reception of different stories. And she has dedicated herself to them. – jury statement

    Honorable Mention
    Ana Alenso

    Ana Alenso‘s installation 1.000.000% for the Berlin Art Prize 2018 deals poignantly with the failure and inequality of the capitalistic system. Looking at the immense humanitarian crisis of her country of origin Venezuela, she manages to create a strong installation that embodies this crisis’ complexity and absurdity through the material flow and destructive power of capital and oil. Her work convinces by displaying a system in crisis. – jury statement

    photos: Anastasia Muna, video still: Doireann O’Malley

     

  • Nominees

  • Exhibition

    • <p>Installation view Markues</p> 01 of 20

      Installation view Markues

    • <p>Installation view Arthur Debert</p> 02 of 20

      Installation view Arthur Debert

    • <p>Installation view Monika Grabuschnigg</p> 03 of 20

      Installation view Monika Grabuschnigg

    • <p>Installation view with works by Ana Alenso and Nina Kurtela</p> 04 of 20

      Installation view with works by Ana Alenso and Nina Kurtela

    • <p>Installation view Lorenzo Sandoval</p> 05 of 20

      Installation view Lorenzo Sandoval

    • <p>Installation view Nina Kurtela</p> 06 of 20

      Installation view Nina Kurtela

    • <p>Installation view Nina Wiesnagrotzki</p> 07 of 20

      Installation view Nina Wiesnagrotzki

    • <p>Installation view Alanna Lynch</p> 08 of 20

      Installation view Alanna Lynch

    • <p>Installation view Doireann O’Malley</p> 09 of 20

      Installation view Doireann O’Malley

    • <p>Installation view Ana Alenso and Nina Kurtela</p> 10 of 20

      Installation view Ana Alenso and Nina Kurtela

    • <p>Installation view Ana Alenso (foreground) and Alanna Lynch (background)</p> 11 of 20

      Installation view Ana Alenso (foreground) and Alanna Lynch (background)

    • <p>Installation view Lorenzo Sandoval</p> 12 of 20

      Installation view Lorenzo Sandoval

    • <p>work by Lorenzo Sandoval</p> 13 of 20

      work by Lorenzo Sandoval

    • <p>Installation view Markues</p> 14 of 20

      Installation view Markues

    • <p>Installation view Markues</p> 15 of 20

      Installation view Markues

    • <p>Installation view Arthur Debert</p> 16 of 20

      Installation view Arthur Debert

    • <p>Installation view Arthur Debert</p> 17 of 20

      Installation view Arthur Debert

    • <p>Installation view Nina Wiesnagrotzki</p> 18 of 20

      Installation view Nina Wiesnagrotzki

    • <p>Installation view Nina Wiesnagrotzki</p> 19 of 20

      Installation view Nina Wiesnagrotzki

    • <p>Installation view Alanna Lynch</p> 20 of 20

      Installation view Alanna Lynch

    The exhibition of works by all 2018 nominees took place at The Shelf, a former garage of the car rental service Robben&Wientjes in Berlin-Kreuzberg, from September 1–28. Photos: Anastasia Muna

  • Events

    • <p><b>How Do We Survive Spaces We Were Never Meant To Enter?<br /></b><strong>Discussion</strong> with Isaiah Lopaz (artist/writer) and Rachael Moore (activist/performer/community organiser)</p><p>With a sense of urgency, activist Rachael Moore and artist Isaiah Lopaz engaged in an open discussion which highlighted some of the more challenging experiences that People of Color face when working for art and cultural institutions including: unethical working conditions, tokenism, incidences of racial prejudice, and the significant absence of POC in the audience, and in the administration behind public and private institutions and organisations centered on art and culture. Photo by Michael Külker</p> 01 of 11

      How Do We Survive Spaces We Were Never Meant To Enter?
      Discussion with Isaiah Lopaz (artist/writer) and Rachael Moore (activist/performer/community organiser)

      With a sense of urgency, activist Rachael Moore and artist Isaiah Lopaz engaged in an open discussion which highlighted some of the more challenging experiences that People of Color face when working for art and cultural institutions including: unethical working conditions, tokenism, incidences of racial prejudice, and the significant absence of POC in the audience, and in the administration behind public and private institutions and organisations centered on art and culture. Photo by Michael Külker

    • <p><b><i>365 routines<br /></i></b><b>Dance Performance </b>with Nina Kurtela</p><p>In <i>365 routines</i> artist and dancer Nina Kurtela and her longtime dance partner Hana Erdman sought to create a conceptual work based on a dance phrase: a short choreographic fragment with the feeling of a beginning and an end. In this case, the phrase is eight beats at 60 BPM. Over the course of a year, the two sent these phrases via cellphone video to each other daily, each reacting to the other’s movements. Due to their almost constant travels, they find themselves on opposite sides of the world, with the development of <i>365 routines</i> becoming both a form of communication and one of the only constants in their global lives. The culmination of the individual videos was projected at the Berlin Art Prize exhibition. At this event Nina Kurtela performed the entirety of the one-year-choreography live with the video work.</p> 02 of 11

      365 routines
      Dance Performance with Nina Kurtela

      In 365 routines artist and dancer Nina Kurtela and her longtime dance partner Hana Erdman sought to create a conceptual work based on a dance phrase: a short choreographic fragment with the feeling of a beginning and an end. In this case, the phrase is eight beats at 60 BPM. Over the course of a year, the two sent these phrases via cellphone video to each other daily, each reacting to the other’s movements. Due to their almost constant travels, they find themselves on opposite sides of the world, with the development of 365 routines becoming both a form of communication and one of the only constants in their global lives. The culmination of the individual videos was projected at the Berlin Art Prize exhibition. At this event Nina Kurtela performed the entirety of the one-year-choreography live with the video work.

    • <p>Exhibition Opening<br />with music by Chloëdees (NTS/UK), Yoni (Terry Radio/USA), Ābnamā (REH/DE), curated by Nai (BCR/DE), photo by Matthias Voelzke</p> 03 of 11

      Exhibition Opening
      with music by Chloëdees (NTS/UK), Yoni (Terry Radio/USA), Ābnamā (REH/DE), curated by Nai (BCR/DE), photo by Matthias Voelzke

    • <p><b>DIY Stink Bomb<br /></b><strong>Workshop</strong> with Alanna Lynch, Berlin Art Prize 2018 nominee</p><p>Alanna Lynch showed how to create your own sulphur-based stink bombs using household materials and the sun. Together the participants of the workshop discussed the sense of smell and the potential smells have to take up space and trigger emotion. Photo by Sophie Jung</p><p> </p> 04 of 11

      DIY Stink Bomb
      Workshop with Alanna Lynch, Berlin Art Prize 2018 nominee

      Alanna Lynch showed how to create your own sulphur-based stink bombs using household materials and the sun. Together the participants of the workshop discussed the sense of smell and the potential smells have to take up space and trigger emotion. Photo by Sophie Jung

       

    • <p><strong><i>so schön</i> by Ronald Schernikau</strong><br /><strong>Endurance Reading</strong> with Tucké Royale (performer, author) and Jörg Sundermeier, Verbrecher Verlag</p><p>At the Berlin Art Prize, Markues exhibits a parachute with a quote from <i>und als der prinz mit dem kutscher tanzte waren sie so schön, daß der ganze hof in ohnmacht viel. ein utopischer film</i> by Ronald M. Schernikau. In the book, Schernikau writes: “this film tells the story of four young people trying to organize their love. their problem is that their love has long been organized. their love is organized in exclusivity, in self-defense and togetherness.” Tucké Royale read the entire book, published by Verbrecher Verlag. Three hours of Schernikau beneath parachutes.</p><p> </p> 05 of 11

      so schön by Ronald Schernikau
      Endurance Reading with Tucké Royale (performer, author) and Jörg Sundermeier, Verbrecher Verlag

      At the Berlin Art Prize, Markues exhibits a parachute with a quote from und als der prinz mit dem kutscher tanzte waren sie so schön, daß der ganze hof in ohnmacht viel. ein utopischer film by Ronald M. Schernikau. In the book, Schernikau writes: “this film tells the story of four young people trying to organize their love. their problem is that their love has long been organized. their love is organized in exclusivity, in self-defense and togetherness.” Tucké Royale read the entire book, published by Verbrecher Verlag. Three hours of Schernikau beneath parachutes.

       

    • <p><b>/Common Wages/Common People/<br /></b><b>Reading </b>with Aurelia Guo, Rin Johnson, Alice Miller, Darling Fitch, Hannah Gregory, Susan Finlay, Sarah Harrison und Bianca Heuser in collaboration Arcadia Missa Publishing, music by Paul Arambula</p><p>/Common Wages/Common People/ brought together a group of writers working across genre and form to address the question of what meaning “the commons” has in a contemporary context. Instead of a facile seeking of “common ground” the writers approached the question of the commons as a broader topography, posing questions about the nature of individual experience and cultural context.</p><p> </p><p> </p> 06 of 11

      /Common Wages/Common People/
      Reading with Aurelia Guo, Rin Johnson, Alice Miller, Darling Fitch, Hannah Gregory, Susan Finlay, Sarah Harrison und Bianca Heuser in collaboration Arcadia Missa Publishing, music by Paul Arambula

      /Common Wages/Common People/ brought together a group of writers working across genre and form to address the question of what meaning “the commons” has in a contemporary context. Instead of a facile seeking of “common ground” the writers approached the question of the commons as a broader topography, posing questions about the nature of individual experience and cultural context.

       

       

    • <p><b>Dreaming Trans-futurism and Reality Now<br /></b><b></b><strong>Talk</strong> with Doireann O’Malley (Berlin Art Prize 2018 nominee), Lou Drago (author, curator), and Pedro Marum (curator, film programmer, DJ) of Xenoentities Network, Elliott Cennetoglu (lighting designer), Pol Merchan (artist, filmmaker), Mateja Hoffman (photographer, stylist)</p><p>Doireann O’Malley, nominated artist and director of <i>Prototypes</i> in conversation with the creators and protagonists of the film about the methodologies, themes, experiences and processes explored in the work Actor Lou Drago on <i>Prototypes</i>: “Within the first moments of <i>Prototypes</i> the viewer is confronted with the absurdity of society’s reduction of gender to a binary system as a voiceover enumerates the various chromosome composites that humans possess, several combinations of which do not equate to the limited categorizations of male/female. It is quickly made clear that there is much more involved in understanding the complexity of gender.”</p> 07 of 11

      Dreaming Trans-futurism and Reality Now
      Talk with Doireann O’Malley (Berlin Art Prize 2018 nominee), Lou Drago (author, curator), and Pedro Marum (curator, film programmer, DJ) of Xenoentities Network, Elliott Cennetoglu (lighting designer), Pol Merchan (artist, filmmaker), Mateja Hoffman (photographer, stylist)

      Doireann O’Malley, nominated artist and director of Prototypes in conversation with the creators and protagonists of the film about the methodologies, themes, experiences and processes explored in the work Actor Lou Drago on Prototypes: “Within the first moments of Prototypes the viewer is confronted with the absurdity of society’s reduction of gender to a binary system as a voiceover enumerates the various chromosome composites that humans possess, several combinations of which do not equate to the limited categorizations of male/female. It is quickly made clear that there is much more involved in understanding the complexity of gender.”

    • <p><b>MOANEY: A Speculative Proposal for Support Structures<br />Discussion </b>with Kate Brown (co-director of Ashley, editor at Artnet), Maurin Dietrich (writer, assistant curator, KW Berlin), Cathrin Mayer (assistant curator, KW Berlin), Penny Rafferty (writer, curator), Chloe Stead (writer, editor and art critic)</p><p>Gentrification and exclusion have become the norm in Berlin. As the experimental gallery boom of the early 90s recedes, many spaces are moving away or shutting down completely. Berlin’s art world is in crisis and runs the risk of losing its unique perspective, formulated through its project spaces with a vibrant, antagonistic attitude towards the cultural elite, and populist politics.</p><p>The panel aimed to unpack this spectacle not as a process of mourning for more hedonistic times, but as a procedure for action. Rafferty, Mayer, and Dietrich outlined a new protocol, in which every institution, collection, and gallery is complicit and coerced into creating and maintaining infrastructures of support, survival, and radicalization within Berlin´s creative scene. – Penny Rafferty</p> 08 of 11

      MOANEY: A Speculative Proposal for Support Structures
      Discussion
      with Kate Brown (co-director of Ashley, editor at Artnet), Maurin Dietrich (writer, assistant curator, KW Berlin), Cathrin Mayer (assistant curator, KW Berlin), Penny Rafferty (writer, curator), Chloe Stead (writer, editor and art critic)

      Gentrification and exclusion have become the norm in Berlin. As the experimental gallery boom of the early 90s recedes, many spaces are moving away or shutting down completely. Berlin’s art world is in crisis and runs the risk of losing its unique perspective, formulated through its project spaces with a vibrant, antagonistic attitude towards the cultural elite, and populist politics.

      The panel aimed to unpack this spectacle not as a process of mourning for more hedonistic times, but as a procedure for action. Rafferty, Mayer, and Dietrich outlined a new protocol, in which every institution, collection, and gallery is complicit and coerced into creating and maintaining infrastructures of support, survival, and radicalization within Berlin´s creative scene. – Penny Rafferty

    • <p><b>How to Breathe In a Bubble?<br /></b><strong>An experimental discussion panel</strong> with Marco Schmitt (performance artist and systems coach), Katalin Gennburg (speaker for urban development, tourism and smart city of the Left Fraction in the Berlin House of Representatives), Andreas Krüger (director of Belius GmbH, former director of Modulor, Runder Tisch Liegenschaftspolitik), Sven Lemiss (director BIM), Sandra Meireis (architecture theorist, TU Berlin), Zoe Claire Miller (artist, co-founder Berlin Art Prize), Martin Schwegmann (urban researcher, studio commissioner for Berlin), Alexandra von Stosch (Artprojekt Unternehmensgruppe), Cornelia Wagner (OraNostra)</p><p><i>“Everything is gentrification now” but Richard Florida isn’t sorry.</i> As the city gets more expensive, more tightly packed, some win, others lose. On this evening, Marco Schmitt and participants from art, politics, and real estate attempted to untangle the socio-economic complex of gentrification using Schmitt’s method of COA CHING. What (moral) scope of action is possible, for those affected and those responsible, when urban space is subject to intense pressure and scarcity?</p> 09 of 11

      How to Breathe In a Bubble?
      An experimental discussion panel with Marco Schmitt (performance artist and systems coach), Katalin Gennburg (speaker for urban development, tourism and smart city of the Left Fraction in the Berlin House of Representatives), Andreas Krüger (director of Belius GmbH, former director of Modulor, Runder Tisch Liegenschaftspolitik), Sven Lemiss (director BIM), Sandra Meireis (architecture theorist, TU Berlin), Zoe Claire Miller (artist, co-founder Berlin Art Prize), Martin Schwegmann (urban researcher, studio commissioner for Berlin), Alexandra von Stosch (Artprojekt Unternehmensgruppe), Cornelia Wagner (OraNostra)

      “Everything is gentrification now” but Richard Florida isn’t sorry. As the city gets more expensive, more tightly packed, some win, others lose. On this evening, Marco Schmitt and participants from art, politics, and real estate attempted to untangle the socio-economic complex of gentrification using Schmitt’s method of COA CHING. What (moral) scope of action is possible, for those affected and those responsible, when urban space is subject to intense pressure and scarcity?

    • <p><b>Berlin Art Prize<br /></b><b>Award Ceremony at midnight<br /></b>The winners were announced live for the first time at a midnight awards ceremony, photo by André Wunstorf</p> 10 of 11

      Berlin Art Prize
      Award Ceremony at midnight
      The winners were announced live for the first time at a midnight awards ceremony, photo by André Wunstorf

    • <p><strong>Award Ceremony<br /></strong><strong>After Party </strong>with music by Superposition featuring Judith Grasser, Rugilė, Walter Daniel and Marlene Stark, photo by André Wunstorf</p> 11 of 11

      Award Ceremony
      After Party with music by Superposition featuring Judith Grasser, Rugilė, Walter Daniel and Marlene Stark, photo by André Wunstorf