image text special shop

'Love Sign', a Group Show at Galerie Noah Klink, Berlin

Love Sign is an exhibition based on a 200GB digital database of Prince fan ephemera, books, music, bootlegs, videos, and imagery. The files were compiled by Prince fans in and around Hamburg over years and passed on to friends and strangers at bars and clubs via a USB stick, engraved with S. Taking the material and the open medium of the database as a starting point, the exhibition brings together artworks that reflect on Prince’s politics, identity as well as visual and musical aesthetic. All material produced in the course of the exhibition will be added to the digital database afterwards, which will then be passed on.

Funk
Prince was in constant search for difference, “the avant-purple”. What made him become a larger-than life icon is a singular merging of a reckless will to produce and little hesitation to stand up. Whilst charged with illegible references and gestures, everything remains danceable, light and present.

Controversy
Whatever Prince did was sexually charged, full of allure and notions of Camp. His androgynous, provocative “para-queer” performance, that is everything from album titles to his perfectly manicured moustache, was an impertinence for some, but of attraction and stimulation for most.

Community
Community was arguably one of Prince’s favourite words. He wanted his biography to be a “handbook for a brilliant community.” Long before the establishment of platform-like structures, Prince set up accessible and democratic forms of online distribution and encouraged others to do so as well (see the database). 

Politics
For his entire career, Prince dealt with the segregated music industry in the US. His attempts to deploy both aesthetic and political strategies seeking to evade himself from the dynamics of the industry culminated in re-naming himself to the unpronounceable S. Reclaiming control over his work, and challenging the racial hierarchy as paradigmatically instituted in the US thereby were part of Prince’s conscious representation of race. 

6.6.20 — 15.8.20

Colin de Land und Kembra Pfahler, Gina Fischli, Lenard Giller, Isaac Lythgoe, Eric N. Mack, Willa Nasatir, Kayode Ojo, Johannes Oswald, Alison Yip

Organised by David Jenal and Noah Klink

Galerie Noah Klink

'The rain of chrysanthemums rotted into hay' by Timur Aloev at Holešovická Šachta

'Bucolic Gang' by Mónica Mays at Rupert, Vilnius

'The Chase' by Jürgen Baumann at Material, Zurich

'The Host' by Pakui Hardware at eastcontemporary, Milan

'Chlamydomonas Nivalis' by Alberto Tadiello at Umberto Di Marino Gallery, Napoli

'The Centre' by Patrick Cole and Dominic Watson at Kupfer, London

'Ghost Member: Prosthesis/ Symbiosis as a shelter' by Naomi Maury at L'Assaut de

'I show you the signs of life' by Alina Izmaylova at Kerka gallery, Saint-Petersb

'I Don't Want No Trouble' by Lucas Erin at All Stars, Lausanne

'The Grime and the Schmutz' by Béla Feldberg at Jo-Anne, Frankfurt am Main

'Night of Hinnā' by Monia Ben Hamouda at Bungalow, ChertLüdde, Berlin

'Getting Down to Business' by Rebecca Rothenborg at Galerie Roland Puschitz, Vien

'Why Me?' by Pietro Agostoni at Associazione Barriera, Turin

'Holloway - ‘Das Gift’ is a Gift' by Céline Struger at Loggia, Vienna

'Under the Moon' Group Show at Camp Eternal Hell Chamber, New York

'SUPER-NATURAL', Group Show at OLHÃO, São Paulo

'Body Electric' by Zuza Golinska at Galerie Anton Janizewski, Berlin

'Almost Collapsing Balance' by Liao Wen at Capsule Shanghai

Next Page