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Patrick Fabian Panetta

SCALE OF RATING

02 02 2016 — 06 03 2016
Patrick Fabian Panetta, installation view, MÉLANGE 2016. Patrick Fabian Panetta, installation view, MÉLANGE 2016. Patrick Fabian Panetta: SCALE OF RATING / A FINAL CUT, 2016, Screen capture, sound, min. 20:15, installation view, MÉLANGE 2016. Courtesy the Artist and Exile, Berlin.Patrick Fabian Panetta: SCALE OF RATING / PETZEL & SCALE OF RATING /LEHMAN MAUPIN, each 2014, Screen capture, sound, installation view, MÉLANGE 2016. Courtesy the Artist and Exile, Berlin.Patrick Fabian Panetta: SCALE OF RATING / PETZEL & SCALE OF RATING /LEHMAN MAUPIN, each 2014, Screen capture, sound, installation view, MÉLANGE 2016. Courtesy the Artist and Exile, Berlin.Patrick Fabian Panetta: SCALE OF RATING / PERES PROJECTS, 2014, Screen capture, sound, min. 01:35, installation view, MÉLANGE 2016. Courtesy the Artist and Exile, Berlin.Patrick Fabian Panetta: SCALE OF RATING / PERES PROJECTS, 2014, Screen capture, sound, min. 01:35, installation view, MÉLANGE 2016. Courtesy the Artist and Exile, Berlin.Patrick Fabian Panetta, installation view, MÉLANGE 2016. Patrick Fabian Panetta, installation view, MÉLANGE 2016. Patrick Fabian Panetta, installation view, MÉLANGE 2016.
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Scale Of Rating

The material is the medium – is the message – equals questionable content – or is there any content left?

Patrick Fabian Panetta’s (b. 1977, lives and works in Berlin) video works at his MÉLANGE show belong to the same series but are displayed in variety of common modes of video-art-presentation: A massive flat screen in the front room, stacked Hantarex cube monitors in the back and an old-fashioned TV from a 90’s hotel room in the office area.

The shown material is an appropriation of screen recorder visits of well-known gallery websites with randomized sound in the background. We follow the user clicking through anything he can find, presenting us the “latest trends” in the art world. The choices of websites to visit is based on the scale of rating, which is determined through algorithmic rankings based on probability of importance. The websites’ designs become almost cinematic, while the actual content – information on artists’ works, gallery, and more – becomes a blown up spectacle. These programmed “pieces” create a spectacle, that should be a basic tool for information, tend to reduce its content to superficiality, while excitement is strictly limited to coded effects. The actual idea of works of art is not the subject of consumption anymore, it is in fact the  “Informationsapparat”  (information device) itself. Design, shine, glamour, and standardized forms press everything into a representative surface for a power play inside the art market. The content of these websites are focusing the viewer’s perception processes not on the works of art, but on a hyper-visuality where they experience a flattened dimension suited and limited by the screen. The hyper-visuality does not communicate qualities of individual works, artist intentions or problems, but sells an all over synchronized perception of a need of visual satisfaction. A gallery’s website in today’s art market is equal to the old fashioned idea of the “Präsentationsapparat [Hans Zitko: Kunstwelt. Mediale und systemische Konstellationen, Fundus, Frankfurt 2012.] in the art world, an idea which has been extensively discussed in the 1990s through institutional critique. The virtual space has generated the same issues that the physical space – museum or gallery – has for the past decades. At the center of this conflict is the impossibility of justification or authentication of “good” art. These spaces – virtual and physical – construct an amplified visual experience, not necessarily the intention of the artworks existence as dispute with its producers problems.

By the act of reputation Panetta accumulated a dense collection of material. This material or way of working begs the question of authenticity, authorship and of production. The works are not really produced, and are a denial of the idea on an artistic production – even a resignation that there is nothing new that can be produced. Panetta’s use of “Informationsapparate”, which at the beginning feels like an appropriation of art, are nothing more than a homage to the impossibility of a constant reinvention of art itself spiced with an ambient sound. In sum, it suggests the viewer as part of a personal entanglement with the subject on the screen. But it never becomes a choreography – and is not as calculated as it could be. The modes of display only cite common formulas of presenting a video, thus showing their co-dependence on technical development.

Amy Ball

Third Eye Blind

14 10 2016 — 29 10 2016
Third Eye Blind I, 2016, Steel, 150 x 300 cm. Courtesy the Artist and MÉLANGE, Cologne.Third Eye Blind I (Detail), 2016, Steel, 150 x 300 cm. Courtesy the Artist and MÉLANGE, Cologne.Amy Ball, installation view, MÉLANGE 2016. Courtesy the Artist and MÉLANGE.Amy Ball, installation view, MÉLANGE 2016. Courtesy the Artist and MÉLANGE.Amy Ball, installation view, MÉLANGE 2016. Courtesy the Artist and MÉLANGE.Authentic Handcrafted Tote-Bag, Order Online I, 2016, Recycled paper twine, CD-foil on paper, 70 x 26 x 10 cm. Courtesy the Artist and MÉLANGE, Cologne.Authentic Handcrafted Tote-Bag, Order Online II, 2016 Recycled paper twine, CD-foil on paper, 66 x 28 x 11 cm. Courtesy the Artist and MÉLANGE, Cologne.Amy Ball, installation view, MÉLANGE 2016. Courtesy the Artist and MÉLANGE.Amy Ball, installation view, MÉLANGE 2016. Courtesy the Artist and MÉLANGE.Third Eye Blind II, Video, 6:56 min. Courtesy the Artist and MÉLANGE, Cologne.Namaste (Detail), 2016, Steel, sage, 40,5 x 97,5 cm. Courtesy the Artist and MÉLANGE, Cologne.
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Namaste, my friend. We welcome you to our little refuge, why don´t you stay a while and listen? Here, have a drink and enjoy the atmosphere. Be encouraged to discover yourself. Exercise your relaxation – rely only on your inner resources. Radically express yourself. No one other than the individual or a truely collaborative group...

Atlas Economy

Don't Dust

31 08 2016 — 30 09 2016
Atlas Economy: Don't Dust, installation view, MÉLANGE 2016Atlas Economy: Don't Dust, installation view, MÉLANGE 2016Atlas Economy: Don't Dust, installation view, MÉLANGE 2016Atlas Economy: Don't Dust, installation view, MÉLANGE 2016Atlas Economy: Don't Dust, installation view, MÉLANGE 2016Atlas Economy: Don't Dust, installation view, MÉLANGE 2016Atlas Economy: Don't Dust, installation view, MÉLANGE 2016Atlas Economy: Don't Dust, installation view, MÉLANGE 2016Atlas Economy: Don't Dust, installation view, MÉLANGE 2016Atlas Economy: Don't Dust, installation view, MÉLANGE 2016Atlas Economy: Don't Dust, installation view, MÉLANGE 2016
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In times of increasingly dense communication networks and ties within the art world, certain practices appear which break with claims of determined authorship and instead propose alternative methods of collaboration. The artist group Atlas Economy (*2014, Frankfurt) developed a working structure in which symbiosis and parasitic relations seem to meet. For MÉLANGE, AE created a...

Jessica Gispert & Melike Kara

Honey: Bread & Butter

16 07 2016 — 28 08 2016
Melike Kara: Den Teppich schüttelnd, 2016, oil stick and acrylic on canvas, stained glas, ink and oil stick on glas, dimensions variable. Photo: Thomas Koester All images Courtesy of the Artists and MÉLANGE, Cologne.Melike Kara: Den Teppich schüttelnd, 2016, oil stick and acrylic on canvas, stained glas, ink and oil stick on glas, dimensions variable. Photo: Thomas Koester All images Courtesy of the Artists and MÉLANGE, Cologne. Jessica Gispert: You're the great talker of love, said he who lost my tongue, 2016, foam, pantyhose, powdered sugar, pigment, dimensions variable. Photo: Thomas Koester All images Courtesy of the Artists and MÉLANGE, Cologne.Jessica Gispert: So Lege, 2016, bath salt crystals & acrylic medium on digital print, 84 x 119 cm. Photo: Thomas Koester All images Courtesy of the Artists and MÉLANGE, Cologne.Melike Kara: Den Teppich schüttelnd (zwei), 2016, oil stik and acrylic on linen, 280 x 130 cm. Photo: Thomas Koester All images Courtesy of the Artists and MÉLANGE, Cologne. Melike Kara: Den Teppich schüttelnd (zwei), 2016, oil stik and acrylic on linen, 280 x 130 cm. Photo: Thomas Koester All images Courtesy of the Artists and MÉLANGE, Cologne. Melike Kara: Den Teppich schüttelnd (zwei), 2016, oil stik and acrylic on linen, 280 x 130 cm. Photo: Thomas Koester All images Courtesy of the Artists and MÉLANGE, Cologne. Jessica Gispert: You're the great talker of love, said he who lost my tongue, 2016, foam, pantyhose, powdered sugar, pigment, dimensions variable. Photo: Thomas Koester All images Courtesy of the Artists and MÉLANGE, Cologne.Jessica Gispert: You're the great talker of love, said he who lost my tongue, 2016, foam, pantyhose, powdered sugar, pigment, dimensions variable. Photo: Thomas Koester All images Courtesy of the Artists and MÉLANGE, Cologne.
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MÉLANGE is proud to present “Honey: Bread & Butter” with Jessica Gispert & Melike Kara at Komplot, Brussels Jessica Gispert (b. 1984 in Miami; Düsseldorf) and Melike Kara (b. 1985 in Bensberg; Cologne) both refer to the body as subject- they speak of seduction and meet each other in attrition. Originally, the idiom “bread and butter” relates...

DSCTHK

Up Close, Nothing Personal

09 07 2016 — 28 08 2016

MÉLANGE is happy inviting the curatorial collective Komplot from Brussels presenting DSCTHK a project by Jérôme André and Thibaut Blondiau “‘Up Close, Nothing Personal’ is the title of a book in which Lee Morrison states, in regard to his experience, the good attitudes for the nightclubs doormen to adopt. The nightclubs are places whose architectural...

Misael Soto

Solo Show

28 06 2016 — 06 07 2016
Misael Soto: Misael Soto - Solo Show, MÉLANGE, 2016, Courtesy the Artist and MÉLANGE, CologneMisael Soto: Misael Soto - Solo Show, MÉLANGE, 2016, Courtesy the Artist and MÉLANGE, CologneMisael Soto: Misael Soto - Solo Show, MÉLANGE, 2016, Courtesy the Artist and MÉLANGE, CologneMisael Soto: Misael Soto - Solo Show. Alexander Bornschein in collaboration with Misael Soto, MÉLANGE, 2016, Courtesy the Artist and MÉLANGE, CologneMisael Soto: Misael Soto - Solo Show. Alexander Bornschein in collaboration with Misael Soto, MÉLANGE, 2016, Courtesy the Artist and MÉLANGE, CologneMisael Soto: Misael Soto - Solo Show. Sophie Thun in collaboration with Misael Soto, MÉLANGE, 2016, Courtesy the Artist and MÉLANGE, CologneMisael Soto: Misael Soto - Solo Show, MÉLANGE, 2016, Courtesy the Artist and MÉLANGE, CologneMisael Soto: Misael Soto - Solo Show. Sophie Thun in collaboration with Misael Soto, MÉLANGE, 2016, Courtesy the Artist and MÉLANGE, CologneMisael Soto: Misael Soto - Solo Show. Sophie Thun in collaboration with Misael Soto, MÉLANGE, 2016, Courtesy the Artist and MÉLANGE, CologneMisael Soto: Misael Soto - Solo Show. Sophie Thun in collaboration with Misael Soto, MÉLANGE, 2016, Courtesy the Artist and MÉLANGE, CologneMisael Soto: Misael Soto - Solo Show, MÉLANGE, 2016, Courtesy the Artist and MÉLANGE, CologneMisael Soto: Misael Soto - Solo Show. Domingo Castello in collaboration with Misael Soto, MÉLANGE, 2016, Courtesy the Artist and MÉLANGE, CologneMisael Soto: Misael Soto - Solo Show. Arden Sherman in collaboration with Misael Soto, MÉLANGE, 2016, Courtesy the Artist and MÉLANGE, CologneMisael Soto: Misael Soto - Solo Show. Arden Sherman in collaboration with Misael Soto, MÉLANGE, 2016, Courtesy the Artist and MÉLANGE, CologneMisael Soto: Misael Soto - Solo Show, MÉLANGE, 2016, Courtesy the Artist and MÉLANGE, CologneMisael Soto: Misael Soto - Solo Show. Performance by Arjan Stockhausen in collaboration with Misael Soto, MÉLANGE, 2016, Courtesy the Artist and MÉLANGE, CologneMisael Soto: Misael Soto - Solo Show. Performance by Taisiya Ivanova in collaboration with Misael Soto, MÉLANGE, 2016, Courtesy the Artist and MÉLANGE, CologneMisael Soto: Misael Soto - Solo Show. Performance by Taisiya Ivanova in collaboration with Misael Soto, MÉLANGE, 2016, Courtesy the Artist and MÉLANGE, CologneMisael Soto: Misael Soto - Solo Show. Performance by Taisiya Ivanova in collaboration with Misael Soto, MÉLANGE, 2016, Courtesy the Artist and MÉLANGE, Cologne
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Infrastructure is much more important than architecture. – Rem Koolhaas Melange is pleased to present Misael Soto’s first solo show,1 Misael Soto: Solo Show. Containing painting, sculpture, video, photography, sound, performance, furniture, plant life, text, intervention, and gestures, Solo Showis both a singular work and a collaborative curatorial effort. say something here about the blurring of authorship. the banal vs spectacle. personal identity vs public...

Edition

BOX ONE

17 05 2016 — 31 05 2016
Silke Albrecht, Ohne Titel, 2013/2016, Water colour on paper, 28 x 21 cm, one of 26 uniquesAnders Clausen, Ohne Titel, 2016, mixed media, necklace object, diameter approx. 31 cm, length of necklace 100 cm, one of 13 uniques, each +1 APPaul Czerlitzki, Key, 2016, metall, engraved, 6,8 x 2,5 cm, numbered with certificateJessica Gispert, Water / Earth / Wind / Fire, each 2016, ink jet prints on velum, mounted on glitter and watercolour paper, 33 x 23 cm, 4 motifs, each 4 + 4 APAnne-Louise Hoffman, Lefties, 2016, brass wire, sugar, approx. 25 x 18 x 4 cm, one of 26 uniques of a series, with certificateEllen Yeon Kim, Laundromat, 2016, silkscreen print on paper, folded, 27 x 35 cm (folded), 54 x 35 cm (unfolded)Piotr Lakomy, Untitled, 2016, aluminium rode tape, mesh metal, varnish, approx. 35 x 23 cm, one of 26 uniques of a seriesHugo Montoya, Yo Corto, 2016, archival pigment print on paper, 21,7 x 29 cmAlex Morrison, The Illuminated Witness, 2016, archival pigment print on Epson Hot Press Bright Paper 320 g/m, 20 x 29,7 cmPatrick Fabian Panetta, EDITION, 2016, Fine art print, 29 x 21 cm, one of 13 numberedMarco Schmitt, A flying cube containing an object of unimportance but big value, 2012/2016, fine art print, signed and numberedJoshua Sex, Untitled, 2016, water colour on paper, 29,5 x 21 cm / 21 x 29,5 cm, one of 26 uniquesMisael Soto, Object Displacement Holly Tree Sketch, 2016, archival pigment print on paper, 21,7 x 29 cm
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MÉLANGE is happy to announce its first Edition Box. “BOX ONE” consists of 13 works by 13 artist, that we proudly worked with over the course of our first year of programming. Artist list: Silke ALBRECHT, Anders CLAUSEN, Paul CZERLITZKI, Jessica GISPERT, Anne-Louise HOFFMANN, Ellen Yeon KIM, Piotr ŁAKOMY, Hugo MONTOYA, Alex MORRISON, Patrick Fabian...

Anders Clausen

Straight Lines

31 03 2016 — 01 05 2016
Anders Clausen, Straight Lines, Installation view, MÉLANGE 2016. Courtesy the Artist and MÉLANGE, CologneAnders Clausen, Untitled (Urmeter X-Profil), 2015 Brass, 2,5 x 100 x 2,5 cm. Courtesy the Artist and MÉLANGE, CologneAnders Clausen, Untitled (feather), 2016 Bird feather, water transfer print,  21 x 3,8 cm. Courtesy the Artist and MÉLANGE, CologneAnders Clausen, Untitled (feather d), 2015 Scissor cut , nickel galvaniced bird feather,  water transfer print, Kawaski green lacquer, 35 x 5 cm. Courtesy the Artist and MÉLANGE, CologneAnders Clausen, Straight Lines, Installation view, MÉLANGE 2016. Courtesy the Artist and MÉLANGE, CologneAnders Clausen, Untitled (feather aC), 2016 Scissor cut, nickel galvaniced bird feather, 33 x 4 cm. Courtesy the Artist and MÉLANGE, CologneAnders Clausen, Untitled (feather j) 2015  Bird feather, air bursh, chlorin bleach,  36 x 4,5 cm. Courtesy the Artist and MÉLANGE, CologneAnders Clausen, Untitled (feather aB), 2016, Bird feather, air brush, 32 x 4,5 cm. Courtesy the Artist and MÉLANGE, Cologne
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One should be aware of the momentariness/volatility of social habits. Tools guide you through everyday life, supplying a proper framework, a set of possibilities to help with the guise of worldly interaction. Yet, it is mostly technological invention that has slowly – though nowadays quite quickly – shaped social manners and our way of living....

Patrycja German & Patrick Fabian Panetta

TAUSCHHANDEL

05 03 2016 — 05 03 2016

A project by Patrycja German and Patrick Fabian Panetta in cooperation with artothek and MÉLANGE Patrick Fabian Panetta – Scale of Rating Place: artothek, Sat., March 5, 1 – 4 pm Patrycja German – Kartenlegen Place: MÉLANGE, Sat., March 5, 6 – 9 pm  

Patrick Fabian Panetta

SCALE OF RATING

02 02 2016 — 06 03 2016
Patrick Fabian Panetta, installation view, MÉLANGE 2016. Patrick Fabian Panetta, installation view, MÉLANGE 2016. Patrick Fabian Panetta: SCALE OF RATING / A FINAL CUT, 2016, Screen capture, sound, min. 20:15, installation view, MÉLANGE 2016. Courtesy the Artist and Exile, Berlin.Patrick Fabian Panetta: SCALE OF RATING / PETZEL & SCALE OF RATING /LEHMAN MAUPIN, each 2014, Screen capture, sound, installation view, MÉLANGE 2016. Courtesy the Artist and Exile, Berlin.Patrick Fabian Panetta: SCALE OF RATING / PETZEL & SCALE OF RATING /LEHMAN MAUPIN, each 2014, Screen capture, sound, installation view, MÉLANGE 2016. Courtesy the Artist and Exile, Berlin.Patrick Fabian Panetta: SCALE OF RATING / PERES PROJECTS, 2014, Screen capture, sound, min. 01:35, installation view, MÉLANGE 2016. Courtesy the Artist and Exile, Berlin.Patrick Fabian Panetta: SCALE OF RATING / PERES PROJECTS, 2014, Screen capture, sound, min. 01:35, installation view, MÉLANGE 2016. Courtesy the Artist and Exile, Berlin.Patrick Fabian Panetta, installation view, MÉLANGE 2016. Patrick Fabian Panetta, installation view, MÉLANGE 2016. Patrick Fabian Panetta, installation view, MÉLANGE 2016.
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Scale Of Rating The material is the medium – is the message – equals questionable content – or is there any content left? Patrick Fabian Panetta’s (b. 1977, lives and works in Berlin) video works at his MÉLANGE show belong to the same series but are displayed in variety of common modes of video-art-presentation: A...