Stefan Tcherepnin at Stedelijk Museum

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Like Rat and Bear before them their best feature is banality, their inertness, don't really do much of anything, the muppets grown and birdbrained, as boring as any of us, taking on the roles of young adults, drinking, watching TV, sinking Karaoke, acting as neanderthals, getting all the same shows as Tcherepnin.

Veit Laurent Kurz and Stefan Tcherepnin at What Pipeline

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Tcherepnin one of the first to finally complete the lap, Neue Alte Brucke, Real Fine Arts, Freedman Fitzpatrick, and finishing with What Pipline, visiting all the locations of the Franchise on a blockbuster tour of all the satellites that can promote it, and CAD there to eagerly document each stop on the way to the finish.

and so see too: Stefan Tcherepnin at Real Fine Arts, Stefan Tcherepnin at Freedman Fitzpatrick

Stefan Tcherepnin at Real Fine Arts



Stefan Tcherepnin finally rid his Berlin support group-exhibitionary nest spreads wings solo in a blair-witch-style cookie-monster theater, a fill of sticks, shadows and monsters, including another Real Fine release expressing neurosis over artistic network, “Echoing [...] a classic about hypocrisy as a function of assimilation and artistic progression into the orders of social spheres, ST shows an ambivalent means for internalizing both productive and sometimes abject and shadowy qualities in the artistic search for representation.”
Like Liden’s filling of Spauling with X-mas trees, stuffing the gallery with an overload of non-communicative content, a gag for identification, artistic and gallery, Tcherepnin’s “content” is a means of delaying of identity, of presenting content that, in its deafness, refuses to settle, Tcherepnin’s hideous stick assemblages and kidstuff appropriations are like an punchless joke not meant to sit well, a long-winded shaggy dog story like the video on view.

See too: Stefan Tcherepnin at Freedman Fitzpatrick, Single Moms at Vilma Gold, Morag Keil at Real Fine Arts.

Single Moms at Vilma Gold



According to the statement issued, the origin story was: Single Moms feeling, if not “disabled,” at least having “problems getting by” and so with a few phone calls got the band together making “plans to produce and possibly trade certain self manufactured commodities.” Set against stories of princes who choose to live as paupers, it takes on a altruistic hint of mission from god to raise enough money to save their orphan souls from eviction.
Interesting because it premises everything that came before as not commodities, that these new works under the group’s name were “beautiful home goods,” whereas whatever came before, under their individual selves, were neither. These plucky entrepreneurs, saw opportunity by entering, only now, into free markets as freeing them, meaning their not-commodity-objects could continue being so because these were for sale instead. That they weren’t selling out. Or, that they were selling out so as not to have to sell out.
An interesting trick to free yourself from the demands of cultural production for those of market production, reminiscent of S.O.A.P.Y.’s magick trick. Though an interestingly impossible distinction between luxury goods and art.  See too, Ooga Booga and Paradise Garage's Sweatshop among countless others.
Interesting because they look less like “beautiful home goods” and more like piles of contemporary art tropes. Interestingly even less so than the worded lamps, singing paintings, among other objects for which these artists are known. Interestingly being shown in a gallery setting. Interesting because like so much art today attaching little doodads to retail display systems it is hard to distinguish between desire for commodity and the desire for art.

See too : “S.O.A.P.Y. III” at What Pipeline

Stefan Tcherepnin at Freedman Fitzpatrick



Saying "Stefan Tcherepnin at Freedman Fitzpatrick"  is a bit misleading, an oversimplification masking the real transactions. Freedman Fitzpatrick is a social institution, an outpost of a scene importing artists. Berliners understanding the relational survival of arts rosteral trading networks. Give us post-rookie-upswing Tcherepnin we’ll give you our space. Just visit Paramount Ranch for a list of people who are willing to relate. Green Tea gallery, this show’s symbiote, whose real-in-name slowly becoming actually real in finding itself listed in real artist CVs, inverse opposite that other attachment gallery, Shoot the Lobster and their fake artist insertion. Green tea gallery here comes with a whole barrel of fun, With Tcherepnin you get a whole bonus pack, Ei and Tomoo Arakawa, aka United Brothers, (50% more!) and “ invited artists Hanayo, Anicka Yi, Yuri Manabe, and UB Android No. 5 will be featured as a scene in United Brothers’ upcoming installment of the Les Andröides trilogy.” A self-propagating club-house reproducing itself magnificently.