enrico bertelli | group show | the wand berlin


sleep disorders
opening August 2nd, h. 16 – 22

saturday and sunday h. 14 – 19 and by appointment

Michael Barthel
Enrico Bertelli
Barbara Breitenfellner
Mirja Busch
Leif Elggren
Agnès Geoffray
Marthe Krüger
Benjamin L. Aman
Daniel Löwenbrück
Jean-François Robardet

The Wand
Paulstr. 34
Berlin, Germany, 10557

This presentation of Sleep Disorders is the third in a series of projects initiated in 2010 by artists Marion Auburtin and Benjamin Aman; they have been invited by Melissa Steckbauer at The Wand to co-curate a new show, culling work and artists from their program mixed with a short selection of Steckbauer’s choosing. Together they will address themes shifting between conditions of inner quietude, restlessness, and inexplicable upset. Materials are given special attention, will be expansively reconfigured, and gently pushed into borderline positions within the rooms of the project space. Below is an excerpt from the “Sleep Disorders” catalog held at Centres d’Art Contemporain Dominique Lang & Nei Liicht, 2011.

Whether one is lost in dreamland or crushed down beneath the yoke, there comes a moment when sleep eases the conscious from the burden of life, letting it drift away. Everybody seems to take for granted the many references made to the night or to the darkness in visual or poetic arts. Be it as a bottomless abyss or as a real hamper to action – obscurity comes out as an ideal state to reveal the most indistinctable shapes or forces. Hence Sleep Disorders must not be perceived as an exhibition purely centered on dreams or night itself. Instead of putting the accent on the possible “obvious” side of the works presented, we wish to give a push to a still side, to a sort of shady environement gradually brightening up into the mere core of action.

Sleep Disorders shows pieces of dormant instability, pieces standing right on the very thin edge of the wedge. Some of them drag you through endless contradictions, others take you through the meanders of obsessions. Some just make it thanks to the “benefit of doubt”. And this despite the fact that all of them are put together in the depth of the same state of uncertainty, when one longs for a recovering rest endlessly postponed to the day after. We cannot expect the artists to trick us because they are not tricksters, nor to reassure us because their aim is not to reassure.

Benjamin L. Aman

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