Samstag, 1. April 2017

Dialogos Athens 2017

The Greek counter example

Curated by Professor Thanasis Moutsopoulo
with Nikos Alexiou, Philipp Gufler, Aliki Palaska, Antje Zeiher and others.

April 6 - April 12 2017
Diplarios School, Athens (Ground Floor), Theatrou
School, Athens, tel: 210.324.0130.

Photo: Antje Zeiher: o.T., 2016, Acryl on canvas, 1,65 x 1,20 m; right: Philipp Gufler: Bergkristall fein_Orasol Gelb 4GN_Orasol Pink 478, 2016, silkscreen on mirror, 1,80 x 0,75 m, both: Courtesy Galerie Françoise Heitsch

Montag, 27. Februar 2017


Philipp Gufler "Romankreisen"

Opening: Friday 24.3.2017
20 H: Reading by Fantasma and Philipp Gufler from his book “Indirekte Berührung”
Exhibition: 25.3. - 15.4.2017

"The whole novel touches its own page bottom and turns to the next page" Hubert Fichte on his literary project "Die Geschichte der Empfindlichkeit"  

The title of Philipp Gufler’s first show at BQ borrows a term from the German novelist and ethnographer Hubert Fichte (1935 – 1986). Fichte associated this literal translation from Greek with the concept of a circular novel, which in its course returns to the point of departure. In his show, Gufler adapts Fichte’s thought as the conceptual idea of an abstract, orbital movement to reflect on exemplary themes, methods and forms that feature in his body of work. The artist book Indirekte Berührung / Indirect Contact forms the central piece of the exhibition and relates its elements in the form of a logbook. The installation includes mirrors that have been transformed with transparent colour pigments as well as layered fabrics with varying prints. These quilts are hung in the space and also constitute a separate space within the gallery. The last element is an acrylic glass showcase onto which the documentation of a previous performance is projected.

Making use of screen-printing on blue and pink plastic film with spiral binding (a technique which features prominently in his works), Gufler’s prose also takes a shape in which enables its haptic qualities to be experienced. Within these pieces, the reader encounters different characters, some of whom have inspired and influenced Gufler’s artistic production for a long time. They all position themselves on a fictional time scale, stretching from 1597 – the year in which the early baroque painter Caravaggio supposedly started work on his Narcissus – up to 2075 – the future year in which the performance een gebeueren, enacted in 1975 by the Dutch artist Ben d’Armagnac (1940 – 1978), will see its 100th anniversary. Besides locating these two artistic positions that are of personal relevance for Gufler, the years also serve as markers for a wide spectrum of reference points in his works that are often based on artistic research. All major characters – researchers, writers and artists alike – share a fundamentally critical attitude towards the norms of their time, putting into question cultural, political and sexual identity.

Indirect Touch allows historic figures and contemporaries of Gufler to meet outside the boundaries of chronological order. Gufler gives them an indirect voice in the form of appropriated fragments (which cannot be identified as citations in all cases). However, he does not merely cite or reproduce these characters but rather condenses the attitudes associated with or expressed by them. In the process of indirect writing, Gufler repeatedly seems to merge with his characters. The persona that links all 21 chapters is Jäcki, based on the gay flaneur and writer-protagonist from Hubert Fichte’s novel Palette (1968). Like Fichte, Gufler makes use of the character Jäcki as screen as well as ambivalent Doppelgänger (who never fully becomes the alter ego). The character Jäcki becomes a medium for repeated autobiographical passages that may be subtly woven into the text but may also dominate whole chapters.

Gufler’s literary and artistic self-assessments are indirect yet at the same time true to the principle ‘Put your self in quotation marks – call yourself a novel ’. The Fichte quote from Versuch über die Pubertät (1974), parts of which Gufler previously used in an exhibition title, illustrates a decidedly self-critical distance towards an up-close autobiographical approach. That same principle also governs Gufler’s installations and performances. His approaches to a choice of characters from a long tradition of emancipatory history are marked by the artistic pursuit of deeper involvement in regards to emotions and content. Gufler temporarily merges with his subjects of study and, in doing so, self-referentially reveals a fundamental difference between those subjects and himself.

Philipp Fürnkäs

Weydingerstraße 10
10178 Berlin

Mittwoch, 8. Februar 2017

This summer: BEI COSY

16th June - 8th July
Somewhere between an exhibition, a costume party and a bar. Concept by Philipp Gufler and Richard John Jones in collaboration with Cosy Pièro and Sands Murray Wassink.

(generously supported by AFK)

Binnen Bantammerstraat n.2 - 1011 CK - Amsterdam

Montag, 23. Januar 2017

Berlin Rebel City 03: Belong anywhere

(*for english version see below)

Am 28.01. eröffnen wir die Ausstellung Belong Anywhere an zwei Orten in Berlin. Der zentrale Ausstellungsort ist eine AirBnB Wohnung, im Anschluss an die Eröffnung gibt es im ACUD MACHT NEU den zweiten Teil der Ausstellung, Musik und Drinks.

Von der Wohnung zum ACUD MACHT NEU wird es einen Transfer mit Uber-Cars geben, die gleichzeitig der Ort für eine eigens dafür entstandene Arbeit sind. Bitte meldet euch für den Shuttle per Mail an. Die Location für den Ausstellungsteil in der Wohnung wird ebenfalls via Mailinglist bekannt gegeben, RVSP an:

Die Ausstellung geht von AirBnBs Tagline “Belong anywhere” aus, dem Versprechen, überall auf der Welt zu Hause sein zu können. Berlin, Beirut, Beijing: AirBnB-Kunden bereisen diese Städte nicht mehr als Touristen, sondern erwerben das Erlebnis des temporären Dazugehörens zu einem Ort. Dabei stellt sich das anywhere zunehmend als imaginärer, translokaler und global homogenisierter Raum dar.

Die Arbeiten der Ausstellung gehen der Frage nach dem Zusammenhang zwischen den ästhetischen Strategien des AirSpaces und den wohnungswirtschaftlichen Verdrängungseffekten der Sharing Economy nach. Aus unterschiedlichen künstlerischen Perspektiven sollen die Verflechtungen der Corporate Aesthetic der DIY Bourgeoisie mit der semantischen Sphäre des englischen Verbs to belong aufgezeigt werden, welche auch auf die Gewalt von Privateigentum und Klassifikation verweist: Dies gehört mir und nicht dir. Der gehört dorthin und nicht hierher. Die Ausstellung nähert sich den kodierten Attributen und den Funktionsweisen des sozialen, imaginären Raums an. Welcome Home.

Eröffnung am 28.01. in der AirBnB Wohnung 18–21 Uhr, im ACUD Studio ab 20H. Im Anschluss legen im ACUD Marlene Stark und Elliver auf.

Die Ausstellung ist am 29.01. von 12-18.00 Uhr in der AirBnB Wohnung geöffnet. Die Adresse der Wohnung schicken wir euch. Bitte Email an:

On January 28th, we will open the exhibition Belong Anywhere at two locations in Berlin. Following up the opening in the central exhibition space – an AirBnB apartment – the second part of the show will take place at ACUD MACHT NEU along with some drinks and music.

There will be a transfer via Uber-cars from the apartment to ACUD MACHT NEU, that functions at the same time, as space of display for an exhibition piece that has been conceived for especially this setting. The Location of the apartment and the first part of the show, will be announced the day of the opening – for this purpose please RSVP to

The exhibition uses AirBnB’s popular tagline “Belong anywhere” as a starting point, the promise of being at home anywhere in the world, Berlin, Beirut, Beijing: AirBnB users travel to those cities not as mere tourists, they purchase and enact the experience of temporary affiliation to that place. In this notion Anywhere appears as an imaginary space, translocal and globally homogenized.

The works in the exhibition evolve around the trajectories and correlations between the aesthetical strategies of the AirSpace and the effects of displacement triggered by housing policies. Different artistic positions investigate the entanglements of the DIY Bourgoisie with the semantic sphere of private property and classification: This belongs to me and not to you. This one belongs there and not here. The exhibition approaches the coded attributes and operating modes oft he social, imaginary space. Welcome Home.

Opening on January 28th at the AirBnB apartment 6-9pm, at ACUD Studio from 8pm on. Followed by DJ Sets by Marlene Stark and Elliver.

The exhibition is open on January 29th from 12-6 pm at the AirBnB apartment. The exact adress will be send to you at the day oft he opening, please write to:


Mit Arbeiten von/ With works by::
Alexander Nowak
Ana Tabatadze
Anna Möller
Ari Sariannidis
Benedikte Bjerre
Brad Downey
Daniel Neubacher
Daniela Kneip Velescu
Felix Kultau
Florian Hesselbarth
General Idea
Jens Franke
Jessica Mester
Johannes Büttner
Jörg Brinkmann
Joscha Schell
Katharina Marszewski
Lars Karl Becker
Lennart Schweder
Life Sport
Lilly Lulay
Marina Pinsky
Marlene Stark
Marlene Rinne
Neïl Beloufa
Nina Hollensteiner
Paul Barsch/Tilman Hornig
Philipp Gufler
Raphaela Vogel
Schroeter und Berger
Sebastian Mayer
Stephan Janitzky
Sung Tieu
Thomas Hämén
Zoë Claire Miller feat. Ina Wudtke

Kuratiert von: Hate Magazin in Zusammenarbeit mit Anna Gien und Nina Hollensteiner

Photo: Martin Petersen