L‘espace de l‘espèce presents
LEBENSMITTELpunktKUNST June, 20th - 26th Curated by Kerstin Godschalk

Opening Reception 19.06, 7pm// Closing Reception  26.06, 7pm
Dinner performances with Anastasia Mikhaylova; 21.06., 5-9pm; and Stefan Reiss: 24.06.,7pm

In cooperation with Canteen 55 and supported by Our Berlin Vodka

A Group Show of HB55 Kunstfabrik Tenants Frank Arndt, Studio Au Berlin - Marie-Laure Brochard - Satoshi Fujiwara - Andreas Kramer - Anastasia Mikhaylova & Dennis Rätzel - Sandra Gutiérrez - René Sauerbrei -Theresa Schubert - Gabriele Stuckemeier - Attilio Tono

„In its reaction to changes of temperature, the material‘s flexibility was especially suiting me well. This flexibility is psychologically effective - people instinctively feel that it connects to inner emotions and processes...“ (Joseph Beuys on the use of grease)

Hosted in the halls of a former margarine factory the curatorial concept of this show connects the exhibited artistic works with the history of the place they are shown at. In line with Beuys approach, nourishment as a source of energy can lead to a higher level of consciousness through spiritualisation. On the way there, art can be its provision. It is spiritual nourishment for the transformation of the stored heat into creativity for the shaping of our reality of life.
The three previous exhibitions created sense through sensual experiences and moments of contemplation, explored materialities and generated meaning through transformations. Over the course of the first Berlin Food Art Week, LEBENSMITTELpunktKUNST complements these exhibitions by bringing together sensuality and the purpose of nourishment in today‘s society and all its stages. It is laying the ground for an interactive exchange.

HB55 Kunstfabrik once again becomes a joint venue for art, food and creative exchange. In the exhibition hall - at the heart of the show - a long table will serve as a place for exchange and reflection during the opening reception, for special dinner performances such as Stefan Reiss‘, and the closing night.

Unique still life lunches, served at Canteen 55, are rounding off the program during the entire week. Neither still, nor untouchable these meals enable the visitors to go beyond the scope of art. Our visual sense is pleasurably being tested while in the arena of the other senses - that are rarely applied in the exhibition context of spiritual nourishment - an optical illusion is unfolding on the palate.

Food as art, art as food, and nourishment of all senses at the heart of art experience.


Design: letsketchup@maximumtomato.com.

Frank Arndt, Studio Au Berlin: Ready to Use. Glowing Cups, performative installation, 2015// supported by Our Berlin Vodka
Everything has a foreplay and an aftermath. Frank Arndt‘s work gazes at you with a tear in one eye and a smile in the other. Sometimes you might encounter it looking at you with a thoughtful eye but above all it faces you with a winking one. His artistic practice is rigorous and full of assertiveness. It captivates with its humor and its fun. For the opening and closing night of LEBENSMITTELpunktKUNST a long table in full blaze of color will light up the factory halls of HB55 Kunstfabrik. Frank Arndt tempts the audience with minimal design on the big scale and incidentally seduces us to play along in his work during the entire week. Art at Studio Au Berlin generates a desire for ones own creative playfulness. It brings
people together at one table and opens up a game of give and take. In the unstoppable process of becoming and decaying the art work is elaborated by the coming and going of visitors at the exhibition: Production of art as a communal act following Daniel Spoerri‘s „Fallenbilder“ and „Cups“ by Dustin Ericksen & Mike Roger. However his art wants to be consumed and digested. It does not just want to depict an extract nor be a product of waste. It remains and rediscovers itself over and over again. The artist invites everyone to inscribe their food preferences and dislikes around the table. The ABC Plates - each an original piece - are up for sale and will be made available for the guests during Anastasia Mikhaylova‘s dinner performance. An art work with dishwasher-safe quality. Plates can be ordered > by single letters > specific words or > whole sentences > the complete Alphabet from A to Z and any other great idea. ABC Plates are available in three different sizes: S 21 cm 60,00 € > M 24 cm 70,00 € > L 28 cm 80,00 €. Delivery times vary between one to two weeks based on order volume.

(Image Credit) Frank Arndt, Studio Au Berlin 2015, Photo: Sabine Springer


Marie-Laure Brochard: SUPER-MARKET, photographie, sculptures, 2014-2015
Marie-Laure Brochard‘s practice is distinguished by her active participation in the process
of buying and consumption of food. It is a practice tending to be more and more
forgotten about these days. Following the constant reinvention of food supply she
created her very own pallet of goods. The value of recognition is high, even if most of
the presented products can not be found in supermarkets and may not ever be seen
there. However their occurrence seems likely. The SUPER-MARKET already carries it in
its name as a superlative.
Freed from all additives and any textual reference Marie-Laure Brochard easily enables
us to confront the pallet of products we self-evidently do encounter at the supermarket.
It is that implicitness which aesthetically connects with us. Following the food industry‘s
logic and aesthetic, she takes the industry ad absurdum; creatively defeating them with
their own means of aesthetic.
The products in her work appear hermetically raptured, archived like archaeological
artifacts of the postmodern. The shape of food stands out through her art pieces with
the unspoken question being: What relation still remains between food, nourishment and
us. While a large part of society decides on the consumption of politically correct food
and proclaims it as an active choice, Marie-Laure Brochard‘s work reveals that the
products themselves leave barely any freedom to act. Thus ultimately questioning if
there is any choice left after all, if we have all been raised to passively consume.
Is food simply a readily consumed satisfaction of need, also in morally and ethical
prospects? What functions does nourishment fulfill nowadays and what are the products
of our time?
MLBrochard, SUPER-MARKET Serie n°1, Peeled Banana, 2014, courtesy the artist

Satoshi Fujiwara: The Return 1 & 2, Photography, 2012
Satoshi Fujiwara‘s photographs are neither classical nor contemporary still lives, but you
could rather understand them as performative installations. Nonetheless singular elements
of the pictures are characterized by their high symbolic values. They follow a powerful
compositional overall structure as a whole that goes beyond the implementation of the
performative. They also tell his story: A story of immigration to a different cultural
reality. His artistic practice bears witness and reflects moments of the foreign and the
familiar in search of an own reality, an identity of the in between.
For LEBENSMITTELpunktKUNST he shows his two piece series The Return 1 and 2. Food as a bearer of history is used as a religious and cultural marker following the question of
societal and individual relevance.
Times of global trading, enhanced mobility and a worldwide stream of information raise
the question on stability of food‘s symbolic function. Once our life was culturally deeply
embedded in this religious narrative and locally determined, yet today we live in the
reality of GlobalFood. A global agricultural system is at hands and has caused drastic
transformations on a local scale, especially in the so called peripheries and former
colonial states. And this does not only effect the production of food but furthermore
causes changes in the structures within societies by altering ways of nourishment and
impacting long held rituals and traditions. Satoshi Fujiwara makes these transitions a
subject of discussion with a striking lightness and examines their current implication on a
personal as well as on a societal level.
Which cultural and local specific roots does nourishment have in times of GlobalFood?

(Image Credit) Satoshi Fujiwara, The Return 2, 2012, courtesy the artist


Sandra Gutiérrez: Sins, mixed media, 2014
Sensually we are carried away by Sandra Gutiérrez assemblages. There is a thin line
between pleasure and sin - also to be encountered in her work. Sandra Gutiérrez holds
up a mirror confronting us with the seven deadly sins within the context of
LEBENSMITTELpunktKUNST. Her works are touching on a strong interest in the instinctive. She generates her artistic
expression from the correlations of instinctive behavior, its societal reprimands and the
search for ones own beneficial positioning. The exhibited cycle of work also reflects on these connections formally. A fixed size
defines the framework of the sins which still go beyond their scope. On a personal level
they are and remain exuberant. With the inclusion of the sins in the context of the exhibition LEBENMITTELpunktKUNST
Sandra Gutiérrez builds a bridge from the interaction with food to art. A general critique
of consumerism can be deduced that can also be read as an institutional critique. We
discipline our pleasure and enjoyment from food as well as we do in the exhibition set
up. Our senses are being kept in check as we refrain from the wish to touch the works
in order to experience them completely.

(Image Credit) Sandra Gutiérrez, Sins, installation view „Heat and Beat“, 2014, courtesy the

Andreas Kramer: Mahlzeit!, painting, 2015
Old oilcloths - easily washable and resistant - formerly served as a protective cover of
the garden tables; and even dressed the tops of inside kitchen tables for a while. Despite
their dirt resistance there are traces of the edges of plates burnt into the surface and
imprints of glasses of previous times; bearing witness to a different time that is not as
easily swept away yet will not return.
Oilcloths that suggest times of exuberant get-togethers: Steeped in history, they tell of a
different era of fine dining. Yard good designed historic pieces now serve as Andreas
Kramer‘s canvas. They are screens for projecting the ageing of a society marked by
demographic shift.
The tension and expressivity of these works lie in contrast to the covers. Andreas
Kramer magically draws simple dishes in oil paints. Reduction meets exuberant seemingly
endless happiness. As lighthearted and overly colourful as the patterns of the cloths
appear as simply, almost bleak are the meals Kramer presents. Somehow life seems to
have surpassed and all that remains is a lonely but very simple meal.
Food can be bleak especially if the only counterpart is the imprint of a plate of times
long gone.

(Image Credit) Andreas Kramer, Brot und Teewurst, 2015, 85x90cm, courtesy the artist

Anastasia Mikhaylova: Kartoffelkäfer, mixed media, 2013-2015
More and more frequently you find yourself taking a bite out of a perfectly shaped,
deeply red, shiny tomato; only to realise that it tastes like nothing. The outer shell
promised absolute pleasure. Food is also a feast for the eye. Yet lately we are presented
with a tasteless inside more often. The importance of the outer appearance within our society causes Anastasia Mikhaylova to question the interdependency of the inside and the outside in her artistic work, not only on the level of consumable goods. Internally arranged like in a display cabinet, we gaze at wilted potatoes. Deformed by desorption and inflation of the process of decay; the outer case of the potato generates a clear formal analogy to insects not only due to the choice of display. The correlation of shell and object like in Marcel Broodhaer‘s „289 Coquilles d‘oeufs“ (eggshells) are the carriers that transform Anastasia Mikhaylova‘s art into sculptural poetry.
Anastasia Mikhaylova‘s art is full of fascination. As soon as the inside has taken its last
breath her work begins to exist. However contrary to Marcel Broodthaer‘s works it is
not the emerging cavity that is in focus of her pieces but its qualities in the leaving of
spacial traces and imprints. The disabled protective shell obtains its own aesthetic
through the metamorphosis of the inside. Its physicality remains a sign of inner
processes. It is the correlation of the inside and the outside that makes her pictures
arise powerfully.
One begins to contemplate on the function of shape and questions how its formal
criteria are determined in today‘s society and by whom. Her collaborative work Specific Needs (2015) with filmmaker and physicist Dennis Rätzel puts her philosophical approach and her multi-medial working methods at the service of a substantiated sociopolitical question. Anastasia Mikhaylova‘s and Dennis Rätzel‘s video installation is shedding light on the actual implications of the circumstances of food production. Visually comparing a discount product with one grown according to organic food standards, they are researching the natural growth that can stem of these foods. By offering mushroom and bacteria cultures two differently treated vegetables on which to grow on, the artists are evoking the natural preferences and opinions on our diets. They are reviewing the two central modes of food productionby leaving the choice up to nature, observing and recording its most natural process of selection.
Can nature tell a difference?

(Image Credit) Anastasia Mikhaylova & Dennis Rätzel, Specific Needs, 2015, courtesy the


René Sauerbrei: #Gesammelte Scheiße, installation, 2015
Excretion, waste, overproduction: In the factory‘s former shower place René Sauerbrei is
negotiating the hidden side of nourishment, guided by the question where all of this may
lead and how we are supposed to stomach it.
Every metabolism, every intake of energy implies digestion. The ingestion of food leaves
behind traces of physical and spiritual kind. Like art it can be physically experienced, it
stimulates and passes through different levels of processing. Food speaks to everyone of
us, as it takes its way through us and we can draw memories of it. These memories
inscribe themselves in us constituting different form and shape. A convivial evening or a
specific place and state can unfold in front of our inner eye upon seeing, smelling and
tasting food. Consumable goods can also tell us a story in art and this is exactly where
René Sauerbrei finds his starting point. From there he takes us on a journey through the
body and its inner needs that are too often being forgotten about.

(Image Credit) René Sauerbrei, Proskauer, 2013, courtesy the artist

Attilio Tono: Abuso 1, 2 & 3, drawings; Un minuto! 1, 2 & 3, sculptures, 2015
Laboratory-like examinations form the origin of Attilio Tono‘s work. Chemical and
physical processes are their foundation yet it is his pictorial quality that lures us in. Attilio
Tono creates Greek arcadia in times of crisis.
His pigments feed themselves from the elements: water, oil and wine. Elixirs of life with
high symbolic powers diffuse into the carrier material - interact and break down into
their constituting segments. For the duration of the application time the pictorial qualities
develop. His plaster sculpture still feed off of the inner balance of the moment of impact
as one can trace the slow and selective process of absorption. Attilio Tono reaches a
high level of contemplation through formal reduction in his work: a perfectly shaped
moment of harmonious togetherness.
His series of drawings shifts reaction time to that of interaction. The rotating drawings
map the reaction between elements and carrier material as well as the interaction
amongst them and their surrounding. An additional moment breaks with the audience‘s
perception, when the light hits the drawings and they are brought to life. Hanging freely
in the room Attilio Tono enables the visitor to approach the works from a manifold of
angles and perspectives. An interaction of natural, technical and social structures
referring to the idyll of Greek arcadia in clear harmony.

(Image Credit) Attilio Tono, Sunset into the sun, installation view, 2014, courtesy Studio


Theresa Schubert: Growing Geometries (tattooing mushrooms), mixed media, 2014-2015

In her trial set-up, Theresa Schubert condenses the most simple organisms to highly complex philosophical questions. She researches interfaces of art, biology and technology. The mushrooms generate their growth by processing organic material.Together with the treatment of the mushroom with tattoo needles, their natural growth creates a closer proximity to that of mankind than to that of plants. A natural phenomenon is translated into a moment of critical analysis of processes of growth with the simplest of means. Theresa Schubert‘s tattooed mushroom are fruits of a deeper lying mesh whose growth can take any shape or form based on devitalized organic material causing revitalisation.

(Image Credit) Theresa Schubert, documentation - Growing Geometries (tattooing mushrooms), video still, 2014-2015, copyright the artist

Gabriele Stuckemeier: Little Drama in Pink & Aquarium auf Trolley 1 & 3, installations, 2014


The wooden blocks of Gabriele Stuckemeier are standing carefully and in orderly lines for the first day of the exhibit. Accurately placed on coarse salt, they could serve as ingredients for industrially normed french fries. However this idea will be overthrown again and again over the course of the exhibition by the artist. The composition changes, as if she was preparing the fries for consumption. Playfully she draws us into her work, that first comes along as stably set and turns out to be in search of its own form. The blocks‘ organic materiality is revealed formally by a skin coloured coat of pink. Originally a painter this colour pervades her work like a pink thread. Egged on by the deconstruction of her works she guides her painting back to their material components.One encounters wood, salt, pigments and oils. It is a reflection on the origin of painting that drives her and her work to the sculptural. Be it the natural manufacturing of pigments, the mixing with oils, food is and has been a core ingredient for cooking and within the art of painting. Whoever approaches her pieces gets an idea of the traditional materialistic connectivity of art and food.

(Image Credit) Gabriele Stuckemeier, Little Drama in Pink. 2. Form, installation view, 2014, courtesy the artist

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