June 17–28, 2014
The Editions will be on view during the regular opening hours at Kuehlhaus:
Bradley Alexander & Anatoly Belov, John Beeson, Sarah Elliot, Othmar Farré, Friedemann Heckel, Jaakko Pallasvuo, Giorgio Sadotti
•LAKE&ONLY – The Editions presented by NOTE ON @ Berlin Art Prize•
LAKE&ONLY – The Editions presented by NOTE ON
With editions by Bradley Alexander & Anatoly Belov, John Beeson, Sarah Elliot, Othmar Farré, Friedemann Heckel, Jaakko Pallasvuo, Giorgio Sadotti
Invited by the Berlin Art Prize, NOTE ON has decided to introduce LAKE&ONLY, an experimental model project that questions the hegemonic processes of value creation in the field of artistic production, as well as the founding preamble of the Berlin Art Prize. LAKE&ONLY searches for alternative and self-authorized methods, which make certain value-creation operations such as awards or gallery representation more transparent and independent.
LAKE&ONLY is a project, founded in 2011 by artist and curator Raphael Linsi. Its programming includes a house in the Swiss Alps, which is used as a residency space for artists. Participants are invited to this remote place to either rest, research, exchange with other communication partners or produce art. LAKE&ONLY is a house that is »empty« on the inside, but through a dialogical practice from its visitors gains new functionality– either as a cabin, residency center, studio, institution, sculpture park, website and exclusive gallery that co-produces, archives and displays. Apart from its digital presence, LAKE&ONLY projects receive limited exposure to the public, making its presentation at the Berlin Art Prize unique by exposing it to a wider audience.
An important aim of LAKE& ONLY is to support and mediate artistic activities that do not necessarily lead to the forms of clearly identifiable artistic products, and to cultivate performative and explicitly leisure-driven gestures. The quasi-documentary character of the editions combines ready-mades with practices of institutional critique and investigates documentation as a distinct artistic strategy. The editions conserves traces and residues of past projects and performances, which allows the relationships of the participants’ to meld directly on location: a USB Stick with a record of the musical performance of Bradley Alexander & Anatoly Belov made during the exhibition and residency project Post-Studio Tales in 2012 in Berlin, an industrial cup of Sarah Elliot, a hiker’s drinking bottle with the lettering »Utopia« from the artist Jaakko Pallasvuo or drawings done during a cabin stay by Friedemann Heckel. Aside from artists, LAKE&ONLY supports art critics, which is illustrated by the already sold-out edition »Outcrop« by critic John Beeson.
LAKE&ONLY tests new forms of institutional and commercial work and combines several features and practices from non-institutional contexts, which includes the flexibility and mobility of a project space, the immediacy and privacy of artistic production inside the studio as well as the communicability and self-reflexivity of collaborative work. These characteristics meet market-affine activities like the strategic selection process of artists involved in a program, professional web presence as well as the organized cross-networking of critics, curators, artists and collectors.
In his text, »Other spaces« (1967), Michel Foucault explains the function of so called »placings«, which is able to suspend, neutralize and to reorganize fixed relational ensembles.  For the Berlin Art Prize, LAKE&ONLY prepares an unpredictable and ambiguous positioning: a museum-like presentation of the editions in an aquarium at the former cold storage house; the venue of this year’s Berlin Art Prize, built in 1900/1901. Reminiscent of historical projects such as Marcel Broodthaers’ 1968, Musée d'Art Moderne, Département des Aigles, (a fictional temporary museum inside Broodthaers’ flat in Brussels), Raphael Linsi employs multiple sculptural and utopian »placings«. The editions aren’t only artworks for sale in the simplest meaning of the word, but rather function as documentations, contemporary archeological findings, private gifts, taste-related kitsch and art critique.
 See: Foucault, Michel (1967): Andere Räume. In: Barck, Karlheinz et al. (Ed.): Aisthesis. Wahrnehmung heute oder Perspektiven einer anderen Ästhetik. Leipzig: Reclam 1990, pp. 34-46.