Dan Peterman
Accessories to an Event
February 26 to April 23, 2016
Potsdamer Str. 97, 10785 Berlin
Accessoires to an Event, 1996
1 table (dim.), 10 floor pallets (dim.), 2 floor pallets (dim.)
Post-consumer plastic material
Signed and numbered certificate
Unlimited Edition
Aeral view of 6100 Blackstone building, Chicago, 1998
C-print
50 x 40 cm
Edition of 3
The greenhouse series, 2001
18 C-prints 29 x 37cm
Framed
Unique
First Tool Board (Bike Shop), 1999
20-by-24 Polaroids
Two parts, overall 76 x 114 cm
Framed
Edition of 5
Monk Parakeet (Hyde Park, Chicago, Illinois), 1997
Color photography
19,9 x 30 cm
Signed and numbered certificate
Edition of 9
Electric Vehicle (Chicago, Illinois), 1997
Color photography
30 x 19,9 cm
Signed and numbered
Edition of 3
News Stand (Chicago, Illinois), 1997
Color photography
30 x 19,9 cm
Signed and numbered
Edition of 3
The greenhouse series (self portrait), 2001
2 C-prints 29 x 37cm
Framed
Unique
Viewing room, left to right:
Matthew Antezzo
Artforum, December 1972, p.32, 1991
Oil on canvas
31,75 x 35,56 cm
Unique
Jonas Lipps
Rucksack, 2012
Backpack, paper, latex
Ca. 50 x 30 x 20 cm
Edition of 7
Lawrence Weiner
Wir sind keine Enten auf dem Teich Wir sind Schiffe auf dem Meer, 1990
(Sculpture for Hamburg Project)
14-colour silk-screen print
On Bristol cardboard 250g
53,5 x 70,5 cm
Printer: Thomas Sanmann, Hamburg
Signed and numbered
Edition of 30
John Baldessari
Heaven & Hell, 1988
Diptych: aquatint, scraping, roulette, and photogravure on two sheets of paper
120 x 80 cm each
Edition of 45
Framed
Matt Mullican
Untitled (Truth and Beauty), 2009
Portfolio of 8 etchings
Each 47,5 x 38,5 cm in custom made folder
Edition of 16
Kay Rosen
Hi, 1997-1998/2011
Silkscreen Print on Zerkall Bütten 300g
92 x 42 cm
Printer: Holger Hinze, Hamburg
Edition of 25
Thomas Bayrle
Marathon, 1969
Color serigraph on cardboard
49 x 69 cm
Signed and numbered
Edition 40 of 100
Matthew Antezzo
Artforum, December 1972, p.32, 1991
Although Dan Peterman’s work draws on the artistic vocabulary of Minimalism, it offers a very different message conceptually. His reduced formal language in fact opposes the early strategies of minimalism as he mostly uses recycled materials. The objects themselves symbolise the inexhaustible store of energy and material and the potential for continually new forms and functions through recycling.
This continuous process of changing states, a theme often revisited by the artist, is represented in the other photographic works on show in the gallery’s second room. The photo prints of ‚The greenhouse series’ in 2001 originally served as a documentation for reconstructing a greenhouse. Caused by a fire in Peterman’s studio, the surface of these prints and of the diptych of his self-portrait was partly dissolved. ,Aeral view of 6100 Blackstone building, Chicago’, 1998 in the front room shows the whole building before it was completely destroyed during that fire. Here Peterman initiated and housed several community projects like a bike repair shop, a swap shop, the office of the magazine ‚The Baffler’ and a self-sufficiency garden. The subject of the actual size polaroid ‚First Tool Board (Bike Shop)’, 1999 refers to that and demonstrates a characteristical storage system of a shared workshop space.